The discrepancy is such that if you’d never seen Chicago before, you’d leave thinking Roxie was the lead and Velma a support. Happily, Ventoura improves markedly in the second act, notably for When Velma Takes the Stand, so all is not lost, and the production is amply good enough to ensure we can relish the show’s inherent pizazz.
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The ensemble’s execution of the choreography is razor-sharp, although in terms of sexiness it’s more safety razor than cut-throat. The band, directed by Anthony Barnhill, is all class, sass and exactitude, and the sound is exceptional.
More pearls are to be found in the minor roles. Asabi Goodman has the barnstorming voice to electrify Mama Morton’s When You’re Good to Mama, and Peter Rowsthorn is as good an Amos (Roxie’s beleaguered husband) as I’ve seen, making his Mister Cellophane a genuine highlight. So, even with its flaws, it’s still a hell of a show. Like the US justice system.
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