Chicago

John Kander and Fred Ebb, Bob Fosse

David Ian for Crossroads Live and Michael Watt, in assocation with Darry and Fran Weissler

Venue Cymru, Llandudno

April 29 - May 3; 2hrs 10mins

(also at Hull New Theatre, June 30-July 5; Blackpool Winter Gardens, July 21-26; Sunderland Empire, August 4-9; Salford Lowry, August 25-30)

The cast of Chicago (pics might not depict current touring cast)

In many respects Chicago is a remarkable musical, a piece of entertainment that doubles as a stinging satire of the justice system in Chicago (and I dare say, other cities) in the 1920s. 

The muscial is based on a play of the same name by journalist Maureen Watkins, who used her experience of actual cases of the period to write what was described as “the finest piece of stage satire ever written by an American”.

But not everyone gets Chicago. This is not surprising, given the storyline of a celebrity lawyer's use of the media to get two women clearly guilty of murder, out of prison. Such a theme is not for the faint-hearted, especially when the second act portrays the execution of an innocent Hungarian woman. 

Despite the nature of this storyline, the production of the musical is alive with a wonderful Jazz score, some dry humour, dazzling dance routines and memorable songs, which grip the attention of the audience from start to finish.

The play requires strong leads from the two main characters and Janette Manrara as Roxie and Djalenga Scott as Velma manage this admirably. They are ably-supported by Dan Burton as Billy Flynn and Joshua Lloyd as Amos, Roxie’s neglected and lovelorn husband. There is an energy and vitality to the ensemble that makes this a pacy production with slick choreography.

The story's backdrop is America in the the Prohibition era. The desire for alcohol saw an attendant rise in domestic violence - which might explain why there were so many women in prison, charged with murder. This unusual phenomenon grabbed the attention of the media and at a time when a jury was usually all male, it was often the case that more attractive women were acquitted. It's a truism that Roxie exploits to the full.

One poignant moment comes after Roxie is set free. Velma and Mama Morton sing Class, which includes the line "Whatever happened to fair dealing and pure ethics?" This lack of justice is a huge motivator behind the scenes, and a sentiment that many societies could identify with today.

John Kander and Fred Ebb did a remarkable thing in retaining the cynicism and satire of the times while capturing the magic of the jazz era. As full houses for every tour attest, it's a potent and exhilarating mix.

More info and tickets here