All That Jazz… Not Quite The Razzle Dazzle by Addica Sharbono

The touring production of Chicago arrived at the Orpheum Theatre in Minneapolis with a long and rich history behind it. First premiering on Broadway in 1975, Chicago was later revived in 1996, becoming one of the longest-running American musicals of all time. Known for its iconic Fosse choreography and jazzy score by John Kander and Fred Ebb, the show has cemented itself as a classic of musical theatre. With simple black costumes designed by William Ivey Long, a stripped-down set designed by John Lee Beatty, and the orchestra visible on stage, this production leaned heavily into the minimalistic style the revival is famous for. While this approach honors the original concept, it also places pressure on the performers to carry the show through personality, precision, and presence alone. Overall, while the production had moments of strengths, it ultimately felt underwhelming. 

The standout performer of the show was undeniably Claire Marshall as Velma Kelly. From the moment she stepped onstage for “All That Jazz,” she commanded attention with confidence and polish. Her voice felt perfectly suited to the brassy sound of the era, capturing the glamour that defines Chicago. Vocally and physically, Marshall seemed fully at home in the world of the show. Her dancing was particularly strong, controlled, and unmistakably Fosse. One of her strongest moments came during “I Can’t Do It Alone,” where she balanced charisma and control effortlessly, reminding me why Velma is such an iconic character. 

Unfortunately, not all of the principal performers reached that same level. Max Cervantes as Billy Flynn fell short of expectations. His well known number, “We Both Reached for the Gun,” was especially underwhelming. The song relies heavily on clear visual storytelling, layered staging, and exaggerated characterization, yet this production lacked those essential elements. There were no clear levels in the staging which made the number feel flat and visually confusing. Additionally, Cervantes’ signature “puppet” voice also failed to land, as it did not sound noticeably different from his regular speaking voice. As a result, the humor and manipulation central to that song were lost.

Another disappointing moment was “Cell Block Tango,” a number typically known for its intensity and precision. In this production, the performance lacked the power and cohesion that make the song memorable. The bland choreography and character energy felt inconsistent, diminishing the impact of what should be a chilling highlight. However, where “Cell Block Tango” fell short, “Nowadays” helped recover some of the show’s lost momentum. The classic choreography was breathtaking in its simplicity, and both Marshall and Ellie Roddy as Roxie delivered strong performances, creating a sense of reflection and closure that the production needed.

In the end, this touring production of Chicago delivered the atmosphere audiences expect, but little more. The inconsistency in choreography, vocal performance, and staging, made the production feel uneven. While the production itself was underwhelming, Chicago remains a classic, and that legacy alone makes it worth seeing at least once.