Chicago Review by Katie Haus

    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 this the ensemble demonstrated a high level of technical skill. Every actor on that stage moved with effortless precision, all of them displaying smooth, confident dance technique that set the tone for the rest of the show. 

Mark Christopher’s portrayal of Amos Hart provided the heart of the show. In a world full of self-obsession and grandstanding, Amos is endearingly sincere. His performance of “Mister Cellophane” is both heartbreaking and charming, and I found myself deeply moved. In addition to the emotions this song draws upon, his voice was beautiful, clear and expressive, perfectly capturing his role. Christopher plays Amos not as a joke, but as a deeply human figure, making his “invisibility” all the more pitiful. His wholesome presence offers a touching contrast to the surrounding cynicism.

Unlike more visually extravagant productions such as The Phantom of the Opera, Chicago doesn’t rely on elaborate set pieces; instead, it uses the ensemble and choreography to set the scene. This stripped-down staging allows the performers to take center stage, and it’s here that the production truly shines. The orchestra, visible on stage through the entirety of the production, reinforces the raw, Vaudeville-inspired atmosphere. Their presence breaks the traditional boundary between performer and accompaniment, adding humor by saying one-liners aimed at Roxie, reminding us that Chicago doesn't need a spectacle to be spectacular.

While the production is largely successful, some of the production’s aesthetic choices were less effective. The limited use of props, while clearly a deliberate stylistic decision, felt overly sparse at times. Minimalism is a part of Chicago’s identity but here it occasionally crossed the line into feeling empty rather than intentional. Similarly, the lack of costume changes was somewhat disappointing. Aside from Roxie’s noticeable transformation, the costumes remained largely static, which slightly diminished the sense of progression and spectacle that musical theatre often expects.

Overall, Chicago is a thrilling reminder of why this musical has endured for decades. While the production may not shine visually, it more than makes up for it where it matters most: in its storytelling, choreography and performance. It’s stylish, smart and endlessly entertaining, Chicago proves that when it comes to great musical theatre, it still knows how to razzle and dazzle ‘em. Chicago is at the Orpheum Theatre in Minneapolis until February 1st, if you get the chance to go I sincerely recommend you do.