Review of ‘Roxie Rocks Chicago’: “Razzle-dazzle acts and all that jazz”

Kander and Ebb’s theatrical masterpiece returns to the London scene in a completely reimagined version staged performed as a cabaret act. Guillermo Nazara shares his views on the show, to let us know if, when it comes to criticism, it had it coming.

Come on, babe, why don’t we paint the town? You don’t need to rouge your knees, though – I know that comes naturally to you… If that line feels like too much of a shock, that means you haven’t been reading me enough – shame on you, you have a miserable life (it’s a statement, not a wish). But since today you have been blessed with a tiny beacon of hope, as you’ve encountered my fine prose, let me tell you: there’s nothing fine awaiting down here… After all, we’ve been taken back to the Prohibition Era, and things are not suitable for the funny-honey-hearted…

Get ready to tap into a parallel world of vaudevillian extravaganza, as you step into the underground wonders of this 1920s alternate universe. Hiding amidst the manorial tranquility of Holborn’s Bloomsbury Square, this bombshell of a show patiently awaits to detonate before the bewildered eyes of anyone who dares delving into it.

It’s not the first time that London town has seen the Velma-Roxie duo slaying it (and them) on its stage. Though never welcoming a replica of the original Broadway production (which some would righteously call it a Mr. Cellophane of its own), its self-effacing glamorous revival took the West End scene by complete storm – running for 15 consecutive years in two separate venues altogether, and welcoming some of the biggest names the industry could offer (I was still in the making).

But now, a retouched version is treading the British boards, and the contrast with its previous incarnations lies beyond some additional boas and ruffled feathered hats. Roxie Rocks Chicago opened last week to the amazement of savvy and unwarned visitors alike, as Kander and Ebb’s immortal score blew its blues one once again – though many would agree it played to a slightly altered key.

A titillating prelude sets up the mood for the explosive spectacle that’s bound to follow. Spangled dresses and porkpie hats fill the space, as an aleatory song selection serves as the formal invitation to an evening of total theatrical frenzy. A few minutes and lots of lost canapes later (I need to work on my starving face better), the doors to the Main Hall open. Before us, a new reality unfolds – as an air of ritzy vibrancy floats through its blue-coated hazing.

The production could easily be considered an adult (keep it clean) Disneyland. There are so many elements in it resembling that dinner-and-characters combo parents usually take a second mortgage for – but which guarantees that its promise of making dreams come true is fulfilled; especially, for the stakeholders. But there’s a crucial difference in that regard: while one of them wants you to pay for the brand, the other charges you for the quality.

Roxie Rocks Chicago is not a perfect production, but many of its components almost are. Excellent dancing, with flawless precision, meets even more extraordinary singing, as this musical theatre treasure relives in a rearranged version of its former itself (three acts and a reallocated numbers). There’s some much praise that can be given about the whole concoction that its blemishes go almost unnoticed – but I like being hated so I’ll still mention them. Yet, it’s fair to say that this is no show to escape your memory.

Succulent food accompanies this extremely well-staged montage mixing Chicago’s core repertoire with a few contemporary additions and acrobatic performances. The plot remains generally intact – same story, same personages, same delightfully uncanny lyrics. But there’s no dialogue or any other link in-between renditions apart from their own concatenation – not that they need it anyway. The concept of turning Chicago into its own cabaret functions beyond its aesthetic allure – it, in fact, reinvigorates the essence of the original piece.

There’s still some work to be done in some aspects of the production, nonetheless. Though the whole company clearly plays at the very top of their game, the closing number lacks the same level of impeccability and pizzazz we’ve generally been presented with all through the night – with the choreography unable to make a similar impact and, at some moments, looking a bit messy. On the other hand, the absence of a live band, as well as a more cohesive narrative during the prologue reinforces a mild sense of incompletion – at no point overburdening us with disappointment, but leaving us with the inevitable impression that some tweaks are to be made.

Yet, none of the above should prevent you, or stop you, from trying, enjoying, and to some extent, being mesmerized by the electricity, oomph, and panache of this absolute triumph of a show. Roughly 4 hours of uninterrupted high-class entertainment are a solid enough reason to make of this production one of your safest gambles while venturing into theatreland. A great piece meets a great tribute, which though not fully ready to match its standard as a classic, it will definitely go as one of its most memorable adaptations. You might think so much acclamation may come as far-fetched. But if you had heard it. If you had been there. I betcha you would have done the same.

Roxie Rocks Chicago plays at London’s until 28 June. Tickets are available on the following link.

By Guillermo Nazara