Chicago must have one of the best opening numbers in all musical theatre.
All That Jazz is just so rich. The wailing trumpet, the dark, sensuous staging, the slick, subtle and oh-so-sexy choreography - and last night's opener saw the incredible Djalenga Scott command the stage as Velma Kelly in a performance she literally did backwards and in heels.
The UK tour of Chicago has landed at Leeds Grand Theatre and it is just superb. Of course, it helps that the show is a stone-cold classic, with amazing songs, irresistible Fosse choreography and a brilliant story of sex, jazz and murder, but the cast are simply flawless. I even heard someone leaving the theatre proclaiming it was better than the production she'd seen on Broadway in New York.
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Faye Brookes, best known as Kate Connor on Coronation Street, was quite frankly wasted on the cobbles if last night is anything to go by (and I write that as a lifelong Corrie fan). It wasn't just her sweet but sultry vocals or her nifty footwork, but her comic performance as the not-so-repenting sinner was a delight. She could speak volumes with a single smirk, grimace or raise of the eyebrow. You couldn't take your eyes off her.
Another mesmerising performance came from Djalenga Scott as Velma Kelly, sassy from start to finish. All That Jazz, as I mentioned, was near perfect, but she was also wonderfully comedic in I Can't Do It Alone and I Know A Girl - compared to others I've seen, this production embraced the more absurd, comedic moments and let the characters run with them, which the audience lapped up.
Pop royalty was in the building with The Three Degrees' Sheila Ferguson taking on Mama Morton with relish. Her option up at the end of When Your Good To Mama was a powerful reminder of the pipes this Philly star has, and I loved her chemistry with Velma - Class was a particular highlight.
The big names in this tour continue with Russell Watson as Billy Flynn - and while you may associate him with classical, powerful operatic numbers, he had no trouble playing the slick and sleazy lawyer strutting across the courtroom. While I'm sure he could have belted nearly every note he had, he played it cool - and his smooth vocals with the occasional snarl were spot on. We Both Reached For The Gun showed off his acting talent (and of course, that last, long, high note was a walk in the park).
Jamie Braughan, star of stage and screen, won the audience's hearts as poor sap Amos, the perfect sad clown in Mr Cellophane with an innocent, downtrodden performance that won him some of the biggest cheers of the night. And B E Wong's Mary Sunshine was as OTT and pearl-clutching as you could ever wish for, trilling and floating around the stage.
And the orchestra. Having them on stage is such a wonderful bit of staging, giving the entire show the atmosphere of a seedy jazz club that you never want to leave. The interactions between the musicians and cast were just right - funny, well-executed but stopping before it got a bit panto. They were still playing after the final curtain call and rows of people stopped behind in the theatre just to watch them having a ball for just a little longer.
Of course, Chicago would be nothing without the ensemble gyrating and gliding across the stage, with ridiculously talented dancers on this tour. The group numbers are a magical madness of limbs, lifts and breathy backing vocals - they are the stars of this show as much as the leads.
The 2002 film with Catherine Zeta-Jones and Renée Zellweger is wonderful and deserved its Oscars, but Chicago is at its best on stage, and this production shows you why. Don't miss the chance to be razzle-dazzled at the Grand this week.
Chicago is at Leeds Grand Theatre until Saturday May 14.
For tickets, visit the Leeds Heritage Theatres website.
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