Claire Marshall and Cast Photo by Jeremy Daniel

The story of 1920s murderesses Roxie Hart and Velma Kelly bursts onto the 5th Avenue stage in the new national tour of Chicago, bringing with it all the razzle dazzle of the jazz age, and more than enough energy and talent to fill the theater–any cell block in the country.

Chicago premiered in 1975, with music by John Kander, lyrics by Fred Ebb, and book by Fred Ebb and Bob Fosse. It was revived in 1996, and won the Tony Award for Best Revival of a Musical in 1997. It has the distinction of being the longest-running musical revival and the longest-running American musical in Broadway history. The revival was directed by Walter Bobbie, and this non-Equity touring production, based on the revival, is expertly directed by David Hyslop.

The story centers around Roxie Hart, who kills her adulterous lover when he tries to break off their affair. It's a "hanging offense," which sends her to prison where she learns that notoriety and celebrity are the best defense, especially when represented by the charismatic and opportunistic lawyer Billy Flynn. While in prison, Roxie meets Velma Kelly, the current cause-célébre, media darling and protégé of prison Matron Mama Morton. Roxie dreams of a life in vaudeville and, armed with sheer ego and the backing of a corrupt legal system, she finds that while fame may be fleeting, her past notoriety is the key to success on the stage.

Roxie's obsession with performing in vaudeville manifests the structure of the show itself. Each song is introduced as a stand-alone number in a musical revue, providing each character (or group of characters) with the opportunity to provide their input into the narrative, as well as the chance to stand out–and stand out they do. Every actor is well cast. Claire Marshall is fun to watch as Velma Kelly and has a strong, rich voice that embodies her vampish, jaded, and desperate character. Ellie Roddy's portrayal of Roxie Hart shows surprising complexity. She brings the audience along with her, subtly winking and showing that she is in on the joke, but also presenting the vulnerability of an ingenue. This cleverly adds to the underlying cynicism of the show itself.

Max Cervantes is deliciously slimy and magnetic as the lawyer Billy Flynn. The audience can't help but trust him, even though he makes it clear his motivations are purely monetary. Mr. Cervantes' voice is strong; his opening song, "All I Care About," is smooth and unctuous, with a steely strength that he exhibits in full force at the end.

Matron Mama Morton is performed by Illeana "illy" Kirven, who is fun and shows strong comedic timing, especially in her Act 2 duet "Class." Her performance is solid but lacks some of the potential danger and power the lesbian-coded role offers.

Speaking of gay-coded, or gender-bending roles, a special mention must go out to J. Clanton, who personifies the "sob-sister" reporter Mary Sunshine. The character parallels that of Mama Morton in that while Mama Morton believes in the "system called reciprocity," Mary Sunshine sings that there's "A Little Bit of Good" in everyone, while clearly not believing a word of it. J. Clanton sings the role with an expert and clear soprano and shows that Mary Sunshine's real motivation is her attraction to Billy.

The role of Amos, Roxie's hapless and naïve husband, is perfectly cast and expertly played by Marc Christopher. Amos is a sad sack and the only character who truly believes that Roxy (or anyone else) has any redeeming qualities. As such, he is rendered almost invisible (Mr. Cellophane), and he is continuously seen as being duped by his duplicitous wife. Mr. Christopher does not let that stop him from stealing every scene he's in. His self-depreciating comedy and formidable voice are on point, and his second Act solo brought the house down.

As impressive as the lead players are, the true power of the show is the ensemble cast and its complex choreography. Ann Reinking, Bob Fosse's long-time muse, reimagined Fosse's choreography for the 1996 revival and won the Tony Award for Best Choreography in the process. Gregory Butler has brilliantly re-created the original New York production choreography in this production. The cast adroitly expresses the intersection of dance and story through mind-bending movements that seem to defy the laws of physics and physical limitations.

Scenic designer John Lee Beatty and costume designer William Ivey Long clearly worked in tandem to create a unified look that is minimal, sleek, sexy, and monochromatic. The focus is always on the actors and action on stage. The costumes are cohesive, without being overly "matchy," and highlight the athleticism of each actor.

Elevated above the action on stage is the jazz orchestra, led by conductor Andy Chen. Mr. Chen and the musicians are addressed by the actors, and at times Mr. Chen acts as narrator. This has the effect of subtly breaking the fourth wall and obliquely involving the audience in the action on stage.

Chicago is a high-energy, cynical, funny, and immensely entertaining show that needs to be seen. The touring production is a must see, and, as the closing song says, despite the march of time, "It's heaven Nowadays"!

Chicago is a co-presentation of Seattle Theatre Group and The 5th Avenue Theatre Company. This year, the two companies formed a strategic alliance to preserve the nonprofit operation of historic theaters, arts jobs, and live performance in Downtown Seattle. Chicago is the first co-presentation between the nonprofit arts organizations as part of their alliance.

Chicago runs through November 2, 2025, at The 5th Avenue Theatre 1308 5th Avenue, Seattle WA. For tickets and information, please visit 5thavenue.org/ or call 206-625-1900.