Chicago

On Saturday 15th February, I was delighted to once again make the journey to the furthest reaches of District 2 and visit our friends on the Isle of Man - in this case, the members of the Douglas Choral Union, who were presenting their version of the Broadway classic, ‘Chicago’.

‘Chicago’ is a dazzling musical set in the roaring 1920s, blending jazz, crime, and showbiz with sharp satire. Based on real events, the story follows Roxie Hart, a housewife who dreams of stardom but finds herself in prison after murdering her lover. In jail, she meets Velma Kelly, a glamorous vaudeville star also accused of murder. Both women vie for the attention of the slick, manipulative lawyer Billy Flynn, who turns their crimes into sensational media spectacles, promising to make them famous.

As Roxie and Velma compete for the spotlight, their rivalry unfolds through electrifying musical numbers, including ‘All That Jazz’, ‘Cell Block Tango’, and ‘Razzle Dazzle’. The corrupt justice system, where fame trumps truth, is exposed with wit and dark humour.

I’ll begin with a one-line report of what I saw at the Gaiety Theatre on a grey and windy Saturday in February, before moving on to a more detailed and nuanced report (which will be long, I’m sure!)...

‘Chicago’ was completely and utterly SENSATIONAL from first moment to last.

As a theatre-goer, I’ll admit that I wouldn’t actually call myself much of a ‘Chicago’ fan but for one day only, I became an obsessive. I saw the show twice that day, thanks to arriving on the island early in the morning and having time to kill (although this show report is based entirely on what I saw during the final show of the run, in the evening) and I probably would have watched it a third time, if that was an option!

From the moment the audience entered the theatre, they were immediately immersed in the world of the play. The safety curtain was up, the tabs were open and the set was on show, already populated by female prisoners and the guards charged with their supervision. Likewise, the auditorium was being prowled by prison guards, who moved their wards through the audience itself, and interacted with everyone around them. This made an eight-hundred seat theatre feel intimate and was a master stroke from the production team. By the time the band struck up and the show started, we were already in 1920s, Jazz-age America.

Speaking of the band, let’s start there. Led by Musical Director, Liz Dixon (who was supported by AMD, Bryony Grant), the musicians were razor-sharp and dynamic for the entirety of the show. Not a note out of place nor a cue fumbled in the entire show, each member performing at virtuoso level throughout. However good the performances on stage are, a show can be totally undermined by sub-par musicianship but this talented ensemble of multi-instrumentalists only further elevated the experience of everyone in the auditorium. Bravo!

Choreography by Breeshey Crookall (supported by Dance Captain, Jessica McManus) was breath-taking from first moment to last. From the intricate jazz footwork to the striking tableaux, each routine was a visual feast, seamlessly blending syncopation, dynamic lifts, and sensuality. The dancers' articulation of Fosse’s signature style—characterised by turned-in knees, subtle hip isolations, and expressive hand flourishes—was nothing short of mesmerising. The choreography demanded not just technical excellence but theatrical flair, and the cast delivered, infusing each jazz combination and intricate step with unrelenting energy and style. The Fosse-inspired routines blended isolation, suspension, and release with such effortless grace that each dance sequence felt both era-authentic and thrillingly fresh. In short, a masterclass in choreographing a technically terrifying show like ‘Chicago’.

On then, to the mastermind behind the production, director David Dawson, whose work was supported by Sarah Holland as AD. I managed to speak with him after the show, and ask lots of questions about his process and creative decisions, and what I was struck by more than anything was that this was a director with a microscopically detailed vision for the show. Nothing, and I mean NOTHING, was left to chance or not fully thought-out and immaculately realised. Indeed, due to licensing conditions, DCU had to design their own set from scratch rather than hire something in, and this was Dawson’s first opportunity to flex his creativity and shape the production he could see in his mind’s eye. Every minute detail of the set was both eminently functional and beautifully designed, and the production only further soared because of the quality of the space that the actors had the opportunity to lose themselves in. It was clear that Dawson had found a way to push his actors into the stratosphere, in terms of giving three-dimensional performances which would captivate audiences. On Dawson, I’ll say this to summarise - if there’s a list of amateur UK directors working at the sublime level he’s achieved in this show, it will have very few, if any, other names on it. Transcendent work. No notes.

A special mention must go to Jude Fullerton, who was responsible for the costumes and wigs in the show. How she was able to curate such an enormous collection of quite perfect pieces for the gargantuan cast is absolutely beyond my comprehension. Every piece was total perfection and only served to further elevate this extraordinary show.

Lighting and sound design by Neil Dolman and Alex Linney respectively was, quite simply, some of the very best I’ve seen in amateur theatre. The two of them joined forces to create a stunning atmosphere in the theatre and there wasn’t a single mistake or missed cue in the show, to the best of my knowledge. It was utterly seamless work and they made the show look and sound phenomenal.

On, then, to the performances - about which there is much to say.

The role of Roxie Hart was played by nineteen-year-old Evie Skillicorn. On Saturday 15th February, between the hours of 7.30pm and 10.15pm, a star was born before our very eyes, and to see it happen was nothing short of a privilege. From the moment of her first entrance, Skillicorn was in total command of the character, the stage and indeed, the audience. A nineteen-year-old actor has no business being as refined, powerful and dynamic as she is, yet age flew out of the window the moment she sang her first note. Evie didn’t play Roxie, she became her, and those of us in the auditorium were hanging on her every word. I usually think it distasteful and unhelpful to draw comparisons between amateur and professional work but if I’m entirely honest, Skillicorn’s performance was on a level with the best leading actors I’ve ever seen, regardless of whether they were amateur or professional. And she’s yet to even start drama school! Remember the name (which will be easy, given that it’s so unique!) because there are no limits to what this actor can achieve as she trains and develops. Astonishing, magnificent, breathtaking and so on. Evie, for the battles ahead, I wish you nothing but strength and positivity, and I look forward to the next time I have the opportunity to see you on stage.

Every good Roxie needs a Velma to play against, and in this production, the role was inhabited by the outstanding Jordan McCormack, who gave a star turn in the role. She was sharp, sassy and in command whenever she was on stage. Watching McCormack deftly portray a character as she was displaced from her role as ‘top-dog’ was a devilish delight throughout the show. Her powerful vocals soared effortlessly through each number, delivering All That Jazz with sultry sophistication and I Can’t Do It Alone with razor-sharp wit and precision. McCormack embodied Velma’s domineering presence with every slinky jazz walk, every knowing smirk, and every perfectly timed eye-roll, making it impossible to look away whenever she was on stage. Her chemistry with Skillicorn’s Roxie was electric—every exchanged glance, every biting remark, and every power play crackled with tension and energy. A powerhouse performance, of which the actor can be immensely proud.

Without a good Billy Flynn, a production of ‘Chicago’ really would struggle to get off the ground and in this show, David Artus delivered a deliciously slimy turn as the unscrupulous lawyer, who sells his courtroom skills to any prisoner with $5000 to spare. From his very first entrance, which just happened to be a surprise one, as he rose through a trap door, covered by a plethora of showgirls and their feathers, Artus exuded Flynn’s trademark charm, effortlessly balancing smooth-talking charisma with a razor-sharp sense of manipulation. His rich, velvety vocals were perfectly suited to the role, delivering All I Care About with effortless showmanship and Razzle Dazzle with just the right amount of theatrical flair. Artus’ chemistry with both Roxie and Velma was pitch-perfect, his every interaction laced with charm, control, and more than a hint of self-interest. Every gesture, from a slicked-back smirk to a perfectly timed flick of his cufflinks, reinforced Billy’s larger-than-life persona, making him the ultimate puppet master of the piece. Outstanding.

The three most famous characters in the piece were joined on stage by a laundry list of excellent performers, playing the supporting characters with masterful ease. As Mama Morton, Natalie Smith played the tough, charismatic, and shrewd warden of the Cook County Jail in Chicago. She is a powerful figure who rules the women's block with a mix of warmth, manipulation, and self-interest - and Smith portrayed her with glee from the outset. Her version of When You’re Good to Mama was, quite simply, a showstopper.

As Amos Hart, Roxie’s soft and long-suffering husband, David Britton was a revelation. His comic timing was magical and he was able to draw out every last ounce of sympathy that the audience could give. Britton’s rendition of Mister Cellophane was as good as one could hope to see, and he managed to balance playfulness with despair in a truly unique and charming manner. The gag about how even the spotlight operator didn’t really see him, when they left him standing in the dark whilst still singing, hit perfectly and had the audience rolling in the aisles. A complex, nuanced and wildly successful performance of a character who is too often reduced to caricature.

Jonathan Sleight was given the unenviable task of polishing his falsetto skills, to play the iconic Mary Sunshine, the naïve, overly sentimental journalist who writes exaggerated, sympathetic stories about accused criminals, turning them into public darlings. He threw himself into the role in the only way an actor can, if they’re going to give a performance that transcends the ridiculous premise of the character - 100mph and fully committed! It was because of Sleight’s commitment to truly letting go of himself that the audience fell in love with the character, and also made the big reveal of her gender-based deception even more charming and hilarious. An actor with serious (and completely UNserious!) skill.

We can’t discuss ‘Chicago’ without making mention of the Cellblock Tango - possibly the most iconic song in the show. There must scarce be a drama school or amateur dramatics company in the land which hasn’t included this number in some sort of ‘Night at the Musicals’ show but I’d stake my reputation on the fact that very few of them will have reached the dizzying heights that this company did with the song. The whole thing was a sumptuous feast for the eyes and ears, and I could have watched it over and over again. Twice just wasn’t enough. As each of the murderesses stepped into the spotlight to deliver their tale of woe, the ensemble whirled through the space, pushing wheeled cell doors around in a hypnotic daze. On the raised staging at the back, male performers stepped out to re-enact the tales of murder as the women sang them. At the culmination of each confession, the men were sharply bathed in a red spotlight and showered with red confetti from above, symbolic of their bloody end. A relatively simple idea, perhaps but in the moment, totally mesmerising and visually incredible. More points to be awarded to the Director.

As the murderesses, Alice Smith (Liz), Ella Gould (Annie), Bryony Grant (June), Ellie Quayle (Hunyak) and Eve Puzzar (Mona) were devilishly well cast. Whilst Cell Block Tango is arguably their finest moment in the show, each was consistently brilliant for the full two hours plus. Alice Smith delivered my favourite rendition of the ‘Pop!’ story of all time, Ella Gould gave enough slinky, sultry sass to reach the ridiculously high ceiling, Bryony Grant stomped the stage like she built it with her own two hands and took zero prisoners, Ellie Quayle made two words (“Not Guilty!”) feel like a Shakespearean sonnet and her hanging scene was simply breathtaking, and Eve Puzzar stalked around the stage like a prowling wildcat, prey firmly in her eyeline. Each of these actors added bucketloads of brilliance to an already exceptional show.

The principal cast were more than ably supported by a large and highly accomplished ensemble of characters, and each performer left nothing unsaid on the night. They sang, danced and acted out of their boots and whilst I searched and searched, I could find no weak links anywhere on stage. Every last performer gave the show their heart and soul, and left the audience breathless. Huge, huge congratulations to each and every one of them.

I feel as though I could write about this show almost endlessly. As I flick through the programme, I’m constantly reminded of yet more subtle pieces of brilliance that the DCU put on stage that night - the list is near-endless. If you missed this show, you truly did miss out on one of the very finest examples of amateur musical theatre I’ve ever seen. As the closing strains of the finale rang out across the auditorium, I saw eight hundred audience members on their feet and cheering like it was their last night on Earth. It would have been criminal to not join them, so I hastily did. The Douglas Choral Union are yet further proof that the societies of NODA NW District 2 are some of the most talented, committed and passionate individuals imaginable, and as always, I am proud to be the person who gets to represent them. Next year, the DCU are set to take on another musical theatre classic, ‘Guys and Dolls’ and if ‘Chicago’ is anything to go by, I will be counting down the days until I return to see it.

Majestic, mighty, breathtaking musical theatre. NO. NOTES.

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