Review: CHICAGO at Oscarsteatern

*Chicago*—created by Bob Fosse and Fred Ebb with music by John Kander—is one of the greatest and most iconic musicals performed worldwide since its Broadway premiere in 1975. It is a dark, comic musical about murder, celebrity, the media, and trials that resemble a circus performance—where the truth matters little, and the loudest voice wins. These themes remain just as relevant today in the age of social media and fake news; whoever controls the narrative holds the power.

 Roxie Hart (Ellen Lindblad) and Velma Kelly (Hanna Lindblad von Spreti) have both murdered their lovers in a fit of rage. They meet in prison, where they vie for the attention of the press. Their defense attorney is the slick Billy Flynn (Peter Jöback), who skillfully constructs their defense by twisting the truth and cultivating sympathy to secure their acquittal.

It was staged at the Oscarsteatern in 1999 with Petra Nielsen as Roxie; she subsequently played the role on both the West End and Broadway. I saw both the production at Oscars and Petra’s opening night—fine productions, certainly—but the 2026 version of *Chicago* is undoubtedly superior to the West End one. It is incredibly professional and polished down to the smallest detail. The opening featuring Roxie in "All That Jazz" is magnificent, and "Cell Block Tango" is a genuine showstopper that earns a standing ovation—how often does that happen for the third number following the overture? It is in these big numbers that *Chicago* truly soars. When Billy Flynn is introduced during "Allt jag begär är kärlek," the female dancers appear holding classic pink feather fans.

 A few numbers later, "Roxie" features stunning, stylish set design—with the name "Roxie" in large, glowing letters and the silhouettes of male dancers visible in the background. Any number like this is a delight for a musical theater lover. However, the deepest emotions are stirred by Roxie’s husband, Amos (Ola Forssmed), during "Mister Cellophane." Amos loves his Roxie, yet no one sees him; not even his shadow stays by his side. It is especially rewarding to see Ola Forssmed in a role that is more moving than amusing.

Overall, this is an incredibly well-packaged musical. It is perfectly cast, with Ellen and Hanna Lindblad truly shining in both song and dance. They are ably supported by Peter Jöback, who elegantly brings out his sleazier side and is brilliant in his musical numbers. Laila Adèle’s powerful voice lends gravitas to the role of Mamma Morton.

The entire ensemble is truly brilliant in every single number. There are a few weaker numbers, though—but I’ve experienced that in every production, so it likely comes down to the source material itself.

The creative team elevates the production and the ensemble with stylish, impactful set design by Lehna Edvall, who also created the stunning costumes—which feel both period-appropriate and modern—as well as the hair and makeup styling. Bob Fosse’s classic choreography, complete with "jazz hands," is instantly recognizable in Zaid Odeståhl’s routines, yet infused with a modern touch. Mikael Kraft delivers brilliant, impactful lighting design. No musical would be complete without fantastic musicians—here under the direction of Johan Landqvist. Last but not least, Edward af Sillén has once again waved his magical directorial wand; the final result can only be summed up as: stylish, sassy, ​​and a smash hit.

 

Chicago is scheduled to run until December 19.

Photo credits Show: Mats Bäcker, Encore: Annette Stolt

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