Chicago @ Sunderland Empire

Most people have heard of, or seen, Chicago - for many it was the 2002 movie starring Renee Zellweger and Catherine Zeta Jones that brought them to the delights of Matron Mama Morton and her death row divas but whilst the glamour & glitz of the Hollywood version remains true to the text of the story, you have to see it live on stage to really feel the energy and raw power of the whole experience.

I've seen the stage production of Chicago half a dozen times now, including in the West End (twice) but this is undoubtedly the best version.  The choreography is simply stunning - it oozes sex appeal, is as tight as a snare drum and gives you all the razzle dazzle mixed with the seedy, snarling, downright dirty underbelly of Chicago in the 1920's.  This is where it strips away the gloss & sanitised safety of the film and exposes you to fabulous dance routines, sultry vocals and a grown-up level of humour.

From the very first number, "All that Jazz" it is obvious that the audience are going to be treated to a non-stop master class in ensemble dancing, direction and production.  This is THE example any budding dancer, show director or stage producer should see - the ingenious use of the set, the positioning of the band (who were as much a part of the visual delight as they were the audio) and the simple yet evocative costumes demonstrate theatre at its very best. 

Taking the lead roles last night were Tupele Dorgu and Chloe Ames - two girls who, to date have had very different degrees of exposure.  Ms Dorgu boasts a very wide & varied list of TV productions including Coronation Street, Waterloo Road, Casualty, Doctors and a hall of fame entry for crossing the big red balls in Total Wipeout.  As Velma Kelly she has all the sass and bravado coupled with a great voice and some stunning moves; she manages to inject a degree of pathetic desperation just under the skin which always threatens to breakout and ruin the otherwise completely-in-control Kelly - it is this vulnerability which creates the juxtaposition at the end of the show as Velma & Roxie realise they really are alike.

Chloe Ames, who is billed as Hunyak (the Hungarian murderess, who ironically only has two words of English in the whole show) stepped into the lead role and was simply amazing.  Roxie, in her hands, was a little girl lost, a brash almost arrogant temptress and a naive but headstrong showgirl. When sexy was required she was molten gold, when vulnerable was needed she was doe-eyed innocence and when it was time for comedy she was classic timing perfected. 

The role of Roxie is very demanding, not just for the complex layers of the character but because, being the lead in so much of the story line, she needs to dance, act, sing and belt through many of the shows headline hits.  It really places the actress front & centre to be judged and compared against all others who have played Ms Hart, a list which includes such noted stars as Denise Van Outen, Claire Sweeney, Jennifer Ellison, Ruthie Henshall and even Bonnie Langford and I can say, with great certainty, that Chloe Ames deserves to be included in that list too.  She may have yet to take top billing herself, but, Ms Ames, your time is nigh and theatre will be all the richer for it.