Chicago delivers with sex, scandal and all that jazz

Even though the original play was written in 1975 and based in the 1920s the storyline is still scandalous and sexy enough for a 21st-century audience.  In fact, most of the themes – lust, murder, hunger for fame and the crazy cult of celebrity – are aptly relevant in today’s world.

The all-South African cast delivers and, besides a few slips in American twang, one is really transported to the heady sticky, grimy nights of the infamous liquor and jazz era.

The stage set is pretty basic with only a few ladders and chairs used as props with the main space utilised for the multi-levelled 11-piece orchestra. A standing ovation to the conductor and musicians on expertly setting the backdrop and tone and nailing all those well-loved Chicago tunes. A few well-timed interactions with the cast add a unique and humorous touch.
The set’s starkness, plus the fact that the costumes are predominantly black, lend a graphic quality to the production and allows the emphasis to fall on the brilliant choreography and vocals.


Stand-out performances go to Ilse Klink whose rich voice and sass really captures the corrupt yet savvy Mama Morton.  The devilishly cute Roxie Hart played by Carmen Pretorius is at turns pitiful and spiteful, while the seductive and sarcastic Velma Kelly played by Samantha Peo delivers her eye-rolling one-liners with ultimate snark. Billy Flynn played by Craig Urbani is as charming and smarmy a lawyer than any little jailbird broad would want.