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The name on everybody’s lips is gonna be [Chicago]! - by Harrison Eyngorn

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  CHITOUR25_4523_Claire Marshall as Velma Kelly and Cast of CHICAGO in All That Jazz_Credit Jeremy Daniel Chicago is currently razzling and dazzling audiences with its sultry dance numbers and infamous musical score at the Orpheum Theatre from Jan. 27 - Feb. 1, 2026. Unsurprisingly, this legendary production is celebrating its 29th anniversary on Broadway and is the second longest-running production in Broadway history, following The Phantom of The Opera . After seeing this show opening night, I understood why this production is so well-loved. Set within the decadent 1920s, Chicago follows the story of Roxie Hart [Ellie Roddy], a housewife and aspiring Vaudeville performer, who murders her on-the-side boyfriend and seeks to flee conviction through transforming her crime into a sensational headline. With the book and lyrics coming from John Kander and Frank Ebb, this iconic musical has songs that are bound to make any audience member roaring for the sounds of the twenties. Cla...
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Chicago: “All That Jazz”… and a Little Too Much Empty Space by Jake Killam

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Marc Christopher as Amos Hart in the National Tour of Chicago (Photo credit: Jeremy Daniel) Chicago wastes no time pulling its audience into the world of jazz. I saw the National Tour of Chicago at the Orpheum Theatre, and from the opening moments, it was clear this production understood the importance of style and precision. The opener, “All that Jazz,” was confident and clearly polished, immediately setting the tone for a glossy performance- driven night that was rooted in Bob Fosse’s iconic choreography. Set during the Jazz Age, Chicago follows Roxie Hart, a chorus girl who becomes a huge media star after being accused of murder, and Velma Kelly, a unique Vaudeville performer already familiar with using spectacle to her advantage. The story has a lot of functions, mainly as a framework, allowing musical numbers to comment on fame, justice, and manipulation rather than focus on the true emotional realism. This approach worked well in multiple parts, and don't get me wrong, I trul...
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Chicago Review by Katelyn Keyes

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      From the beginning, one thing that is very clear about Chicago is that it knows how to make a statement. The stage is black, save for the performers lit by spotlights in the center that seem to tease the audience with their talent in “All That Jazz.” The song creeps along, slower than I would have thought, but sizzling with the Chicago fire that runs through the veins of this show. Velma (Claire Marshall), who leads the song, sings it softly but with such control that the power was akin to belting her heart out. What stuck out as a theme to me of this show was control, a hand on the reins, pulling back just enough to get us audience members to lean in.  Another example of this control is in the choreography, by Ann Reinking (and Bob Fosse originally) and re-created for this production by Gregory Butler. The dances accentuate the energy of the show; in “All That Jazz” it was full of small movements like shoulder shrugs, but done with such impeccable synchron...
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Is “All That Jazz” Really Necessary? Chicago by Maddy Campbell

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Thriving on the tension between glamour and corruption, Bob Fosse’s Chicago is well-known for its iconic score by Fred Ebb and John Kander and isolated movement by Ann Reinking in the style of Bob Fosse, but this production isn’t your typical flashy musical when it comes to show elements. With stripped down staging and technical components, this tour leaves nowhere to hide mediocre performances or messy movements.  The unembellished approach in the scenic design by John Lee Beatty extends into Ken Billington’s symbolic lighting designs to transport viewers without physical sets. My favorite instance of this was the lighting of cell bars onto the stage when the scene shifted to the jail. Instead of putting physical bars onstage, it was projected with lights and shadows. Simple designs like this make the stage more physically interesting while saving space for movement and staying true to the theming of the show.  Because of its bare bones, this production of Chicago rel...
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Chicago: A Story That Can't Be Done Alone by Nafisa Ahmed

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When you think about driving to Minneapolis right now, it’s scary. I’ll be honest, I didn't feel completely comfortable making my way to Minneapolis to watch Chicago (Running January 22nd - February 1st), but there's a good reason it's currently the longest-running American musical on Broadway. In today's age of stress and turmoil, one thing should always be remarked for hope and inspiration: art. Chicago ’s a show that highlights the flashy lives of performance girls and their aspirations to make it big; however, it also exposes the flaws in the criminal justice system at the time. You will no doubt enjoy Chicago — fun and catchy — but ringing a clear message about the empowerment of trust. Chicago begins with “All That Jazz”, leaving no room for debate about the talent of who played Velma Kelly, Claire Marshall. Hints of blue lighting build a melancholy atmosphere, combined with Marshall's somber vocals that have a beautiful tone; it's hard not to unders...
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Chicago Review by Katie Haus

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     Chicago, the musical originally choreographed and directed by Bob Fosse in 1975, is best known through its 1996 Broadway revival, which has become the second-longest-running Broadway show. The tour that I attended was based on this revival, and its longevity is clearly well earned. This production seamlessly blends Fosse’s phenomenally sharp, stylized choreography with the jazz infused score by John Kander and lyrics by Fred Ebb to create a sleek, high-energy celebration of fame, scandal, and showbiz. Despite its minimalist approach, Chicago remains bold, endlessly entertaining and strikingly relevant even decades after its debut. With iconic musical numbers such as “All That Jazz,” “The Cell Block Tango,” and “Razzle Dazzle,” it’s no surprise that Chicago’s 1996 revival has received six Tony awards, two Olivier Awards, and a Grammy. From the opening notes of “All That Jazz,” I was pulled headfirst into Chicago’ s smoky, morally ambiguous world. In songs like...
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Chicago by Elizabeth Teskey

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  Sexy. Sparkling. Superficial. Chicago’s high profile 1920s cabaret is offering murder, style, and all that jazz to Minneapolis audiences through February 1. Showcasing Bob Fosse’s inspired choreography while following the trials of Roxie Hart and Velma Kelly, this show has enjoyed a Broadway run length second only to Phantom of the Opera, becoming synonymous with its most prevalent theme: fame. But amid its miles of mistimed humor, soulless performances, and hit-or-miss ensemble cohesion, I spent my entire night debating whether this tour was a work of pure genius, or simply limping along on the prestige of its marquee.  In truth, Chicago did accomplish everything it advertised. Cynicism practically dripped off every inch of this stage with each one-liner or raunchy look, especially during its darkest moments. Each piece performed by a principal cast member remained consistently captivating (shoutout Ellie Roddy’s 10-minute masterpiece “Roxie”). while, not to be outdone, ...
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