After 25 years, the name on everyone’s lips is still Chicago. With elegant class and an edgy sex appeal, the 25th anniversary tour of this timeless production certainly knows how to razzle dazzle its audience. 

With director Tânia Nardini at the helm of this re-created production, the musical is set in Chicago in the 1920s and tells the story of Roxie Hart (Katie Frieden) and  her cellmate Velma Kelly (Logan Floyd) in a tale of murder, sex, fame, and fortune. After Roxie murders her lover, she finds herself in the Cook County Jail. Desperate to avoid conviction, she seeks the help of infamous lawyer Billy Flynn (Jeff Brooks). With the alluring promise of Vaudeville dreams come true, Roxie and Velma must do whatever it takes to “prove” their innocence as they dupe the public with sensational headlines.  

From the moment Floyd takes the stage, it is clear that they (and Velma) are a force to be reckoned with. Floyd manages to captivate their audience with an effortless ease before the song even begins. Full of subtle, sexy, Fosse choreography (recreated from Bob Fosse and Ann Reinking’s original choreography by Gary Chryst), Floyd’s opening number really does have “All That Jazz.” Fosse choreography is defined by its slow, angular style of movement, and seamlessly blends with Floyd’s strong, powerful presence to create the allure and mystique of the infamous Velma Kelly.

Now admittedly, when Frieden first took the stage, I had my doubts. I was worried she was almost too cutesy for the role of Roxie and didn’t have enough of that clever edge to pull this off. Thankfully, she quickly proved me wrong with her impeccable physicality, facial expressions, and comedic timing. However, it is not until the end of Act I that she really gets a chance to show off her vocal chops in her number “Roxie.” Surrounded by “the boys,” this sexy number is full of blink-and-you’ll-miss-it dry humor, thanks to a brilliant book from Fred Ebb and Bob Fosse, music from John Kander, and lyrics from Fred Ebb.

Of course, where would Velma and Roxie be without the help of Matron “Mama” Morton (Christina Wells)? Wells steals the show in her number “When You’re Good to Mama” with boss babe energy, a knack for physical comedy, and a powerful voice that fills the room, eliciting a rousing applause before she could finish her song. 

Brooks is another standout as the skeezy, sleazy Billy Flynn. While Brooks sings with an air of old Hollywood glamor (and a crisp suit to match), Flynn is a slime ball under the guise of a gentleman. And yet, you almost have to respect him for all of his scheming ways, particularly in his number “We Both Reached for the Gun.” With Friedan acting as his ventriloquist dummy when they feed stories to the press in an attempt to convince them of Roxie’s innocence, the whole thing is really quite absurd. And yet, the visual result is so endearing, you can’t help but be entertained by this ludicrous spectacle. 

In comparison to the calculated extravagance of Billy Flynn, Amos Hart (Brian Kalinowski) blends into the shadows. Fortunately, Kalinowski does not, and his number “Mr. Cellophane” is so endearing I just want to give him a hug. While I wouldn’t call this a typically humorous number, Kalinowski manages to bring a comedic touch while breaking your heart just a little bit. 

Now, Chicago wouldn’t be Chicago without the ensemble. The dance talent in this production is top tier, taking arguably some of theater’s most famous musical numbers like “All That Jazz,” “Cell Block Tango,” and “Razzle Dazzle” to new heights (sometimes quite literally, with dance numbers chock full of impressive lifts, tricks, and splits). As they slink around the stage in tight pants, open vests, and lacy lingerie (fedoras off to costume designer William Ivey Long for striking the perfect balance of sex and class), the dancers are what keep the Fosse legacy alive, thanks to silky smooth movements and seductive intrigue.

Please note that this production uses strobe lights and gunfire sound effects. Children under the age of six are not permitted at this performance. Chicago will run at the Durham Performing Arts Center through Sunday, April 30, 2023. Tickets can be purchased here. 

Additional productions can be found below. All photo credit to Jeremy Daniel.