Chicago: “All That Jazz”… and a Little Too Much Empty Space by Jake Killam

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 truly did enjoy the music and dancing. But it really felt as though we lost the lack of momentum mid-way through. 

Performance-wise, Ellie Roddy as Roxie Hart brought some strong energy, like slamming down five Red Bulls. Her portrayal leaned into Roxie's selfish ambition, particularly during her musical moments, making the character entertaining to watch. Claire Marshall as Velma Kelly was a standout as well throughout the evening, delivering amazing physicality and confidence that grounded the production. Her control and precision made her presence commanding whenever she was on stage.

One of the most memorable sequences was “Cell Block Tango,” especially the section featuring “He Had It Coming.” The ensemble being fully committed really sold the part for me. I mean, seriously, this show’s choreography cooked harder than Gordon Ramsayon. The audience reaction made it clear why this song remains such an iconic part of Chicago. Another highlight of the night was Illeana Kirven as Matron “Mama” Morton, whose performance of  “When You’re Good to Mama” was a crowd favorite. Her powerful vocals and silly presence energized the middle of the show and added much-needed variety.

Marc Christopher as Amos Hart delivered one of the saddest and most emotional performances I've ever seen. “Mr Cellophane” stood out to me like the final slice of pizza. This sincere moment effectively broke me and others in the audience, providing a rare pause in the show's constant satire.

Despite the strong performance, the production struggled at times with pacing and staging. The set design by John Lee Beatty keeps the orchestra visible onstage. While it's very cool, actors only get a small amount of stage room. It felt like we could have had so much more. It often left large areas of the stage unused. This resulted in awkward pauses and moments where the energy dipped, causing me to lose interest at times, despite strong musical numbers.

Overall, Chicago remains a classic with unforgettable songs and sweet choreography. While this touring production excelled in individual performances and standout musical moments,  the lack of dynamic staging and occasional awkward transitions prevented it from being consistently engaging. Still, when the show found its rhythm, it succeeded.