Review: CHICAGO by Porirua Little Theatre

Slick, sexy, and hugely entertaining

Chicago is a musical with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse. It premiered on Broadway in 1975, inspired by real-life 1920s murder cases reported by journalist Maurine Dallas Watkins. Initially overshadowed by A Chorus Line, the show achieved iconic status following its 1996 Broadway revival, which went on to become one of the longest‑running productions in Broadway history.

Set in 1920s Chicago, the story follows Roxie Hart and Velma Kelly, two vaudeville performers who commit murder and then transform their trials into glittering media spectacles. With the help of slick lawyer Billy Flynn, they manipulate the press and public opinion in a sharp satire of celebrity, corruption, and justice.

I was immediately intrigued upon entering the unfamiliar theatre space, where a raised stage resembling a fashion‑show runway dominated the room. I had been told that this would be a production 'in the round' and was initially wary about how well that concept would suit a show like Chicago.

I needn’t have worried. The skilful direction of Julie O’Brien, combined with Meg Leadbeater’s choreography, ensured there was always something engaging to watch. Large ensemble numbers were cleverly split, with half the cast positioned on either side of the space, often mirroring one another’s movement, making excellent use of the unusual staging.

The stage was bare on arrival, with minimal props used throughout the production. This stripped‑back approach allowed the action to flow without interruption, proving both simple and highly effective.

The cast were universally strong. Serena Daysh was the epitome of a scorned diva as Velma Kelly, perfectly capturing her jealousy at the attention lavished on the sassy yet likeable Roxie Hart, played with charm by Ruth Bishop. Both performers sang, acted, and moved with confidence and polish. Sandy Leadbeater clearly relished the role of attention‑seeking, ruthless lawyer Billy Flynn, while Peter Quinn provided a grounded and endearing performance as Amos Hart, playing the role with restraint and heart (see what I did there?).

Elizabeth Marshall was a strong Mama Morton and, together with Serena Daysh, delivered what was, for me, the song of the night: Class. Lizzie Summers completed the principals with an excellent turn as Mary Sunshine. 

The five murderesses (Molly Weaver, Allie Falkner, Maya Roche, Elodie Craig, and Lauren Loghry) clearly revelled in 'He Had It Coming', with the use of ribbons to denote guilt (or lack thereof) a particularly inspired visual touch.

The music was largely delivered via backing tracks, with additional live elements provided by musical director Saar Cohen‑Ronen, who made a 'pitch invasion' at one point in the evening. I’m sure the audience will enjoy his unexpected moment in the spotlight.

Lighting for a production like this must have been extremely challenging, yet it worked surprisingly well throughout. Congratulations to the technical team for navigating the space so successfully.

Costumes were strong, with excellent attention to period detail, adding to the overall polish of the show.

This Chicago was slick, sexy, and hugely entertaining.

Chicago? It truly was my kinda town.

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