Is “All That Jazz” Really Necessary? Chicago by Maddy Campbell

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 relies heavily on the performance of cast members to set the tone and achieve the level of control Fosse’s style commands. My favorite performance of the show came from Ellie Roddy who played Roxie Hart. Roddy has been touring with Chicago for almost two years now, and she carries herself with poise across the stage, leans into every emotion, and has facial expressions I could see from the upper balcony. A great example of this was in “Roxie” when in between singing effortlessly and capturing audience members’ hearts with her charm, Roddy owned the stage and perfectly executed Reinking’s choreography. The Fosse style isn’t always easy to perform, but Roddy embodies every jazzy isolation. 

Another unmistakable element of Chicago is the score by Ebb and Kander. Because of the stripped-back style of production, the music carries the energy of the show just as much as the performers. The only part that was lacking was the balance between the sound of the orchestra, conducted by (name), and the cast. Some performers were drowned out by the orchestra at different points, making plot lines difficult to follow at times. Certain numbers also felt distant in their sound, and consequently didn’t pack a punch quite in the way this show demands. 

Despite its simplistic nature, this revival of Chicago has set multiple run-length records and continues to thrive. Many newer Broadway musicals have been closing very shortly after opening, especially some large-scale musicals, even though these are the shows that are supposed to attract large audiences that seek a “classic Broadway experience.” For example, Queen of Versailles, Swept Away, and Tammy Faye are all recent Broadway musicals that closed very quickly due to “the harsh economic realities of new Broadway musicals in a post-Covid landscape,” as said by the producers of Queen of Versailles in an article by Deadline. However, Chicago’s success is the perfect example of how talented performers and sultry choreography continue to draw in audiences, even after almost 30 years, without intricate spectacles. 

This tour lives up to the legacy that Chicago carries of control, seduction, and irony. With disciplined cast members and standing ovation-worthy performances, this show still knows how to shock audiences and draw them in with a story that was once considered “dangerous.” If you’re someone looking for a nostalgic production, Chicago at the Orpheum in Minneapolis carries its legend in every turned-in knee and silhouetted movement. It is sure to demand your attention.