By Graham Hiley
Darren Day gave them the old Razzle Dazzle in Chicago at Southampton’s Mayflower Theatre last night (19/11/24).
For one week only, the star of stage and screen is reprising his iconic role of Billy Flynn the slick smart-talking lawyer who defends murderess Roxie Hart by sensationalising her case in the press to win public sympathy.
Though this is set in the decadent 1920s, the message is as relevant today with its satire on corruption and manipulation of the media by those out to make a fast buck at the expense of the poor and downtrodden.
That might sound heavy-going but that couldn’t be further from the truth – not that truth really matters when it comes to winning in court… as Flynn proves!
Instead, this classic and ever-popular musical is uplifting and vibrant thanks to its killer songs and wit as sharp as a switchblade.
Day showed no signs of rust on his return to the role he had always coveted, dominating the stage – and his clients – with self-satisfied ambition and greed.
But even he was eclipsed by the powerhouse duo of former Coronation Street star Faye Brookes as Roxie and Djalenga Scott as Velma Kelly, both rivals for Flynn’s time and attention.
The pair packed a real punch with their vocals and chemistry, especially when teaming up in Nowadays and Hot Honey Rag ahead of the finale.
And there was powerful support from Brenda Edwards (X-Factor, Loose Women) who has returned to the role as Mama Morton having first performed it in 2006.
But for all the individual talents and tight ensemble, the main attraction is the show itself including classic songs like All That Jazz, Razzle Dazzle, Cell Block Tango, When You’re Good to Mama and Mr Cellophane.
Dubbed the sexiest musical ever, inevitably the costumes were a sheer delight and Gary Chryst’s immaculate choreography was stunning in the limited space available.
Oddly, around two thirds of the stage was taken up by the orchestra which dominated the sightlines in a deeply dark setting, without ever really adding to the plot despite a few half-hearted attempts to include the conductor.
Although deliberately minimalist, it left little room for any staging so it was unclear whether the setting was prison, the court room (or its steps) or even a night club. At times it felt as much a concert as a show, ending up as a peculiar hybrid of the two.
But that could not detract from the enjoyment of one of the classic musicals which is as popular as ever almost half a century since its debut in 1975. It is little wonder that virtually every seat was taken.
Full of glitz, glamour and sultry sex appeal, this show will continue to razzle dazzle for years to come.
Chicago runs at the Mayflower Theatre until November 23. Tickets at mayflower.org.uk/whats-on/chicago-2024/
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