Give 'Em The Old Razzle Dazzle - Chicago at Popejoy Hall

Claire Marshall and the ensemble of Chicago the Musical at Popejoy Hall. Photo credit: Jeremy Daniel

A single chair with a bowler hat sits on stage as you enter the theater. After years of listening to the soundtrack and watching the 2002 film adaptation, I was ecstatic to see the iconic musical in person. The audience waited with anticipation for the orchestra to appear from behind the curtain, ready to hear that first “5-6-7-8,” as Chicago the Musical opened last night at Popejoy Hall with all the razzle-dazzle, wit, and show-stopping talent that has made it a timeless favorite.

You could feel Fosse in the room as the performers took the stage for “All That Jazz,” setting the tone for the story of the iconic duo Velma Kelly and Roxie Hart and their insatiable desire for fame—even while behind bars. The energy in the audience was palpable as they waited for each song, many quietly singing along under their breath, as I did. The cast brought impeccable charisma and precision to the stage with each number.

Claire Marshall as Velma Kelly commanded the stage as the veteran vaudeville performer snatched from the spotlight after betrayal and tragedy landed her in the Cook County Jail. She delivered her performance with sharp comedic timing and powerhouse vocals, especially in “I Can’t Do It Alone.” The sharp hits, flips, and turns in that number alone made me need to catch my breath—and I wasn’t even performing it!

Before the MC could finish announcing the “Cell Block Tango,” the audience was already applauding, eager for the “six merry murderesses” to take the floor. Refusing to replicate what we’ve heard on the soundtrack or seen on film countless times, each performer brought a refreshing and distinct interpretation to her character. I especially loved the “Bernie” performance—the exaggerated pauses, the sly storytelling, and the near-cackling delivery drew the audience in and exceeded every expectation for that number.

Ellie Roddy as Roxie Hart and ensemble dancers of Chicago the Musical at Popejoy Hall. Photo credit: Jeremy Daniel

Ellie Roddy as Roxie Hart absolutely sizzled. She brought a magnetic blend of innocence, ambition, and sly wit to the role, making Roxie both endearing and dangerously charming. Her comedic timing was razor sharp, her vocals bright and expressive, and her physicality pure Fosse flair. From her wide-eyed scheming in “Funny Honey” to the captivating vulnerability and humor she poured into “Roxie,” Roddy delivered a standout performance that lit up the stage every time she appeared.

Mama Morton, played by Illeana “Illy” Kirven, was larger than life. That voice could belt! She was everything one could want in a character, carrying each line and lyric with confidence and precision. Her performance of “When You’re Good to Mama” practically shook the rafters. Kirven delivered Mama’s trademark blend of authority and humor with irresistible ease, commanding the stage from her very first entrance. She infused the role with a warmth beneath the toughness, making her interactions with Roxie and Velma feel layered and engaging—especially during “Class.” Every gesture, glance, and vocal inflection showcased a seasoned performer who knows exactly how to captivate an audience.

Max Cervantes as Billy Flynn delivered a performance Jerry Orbach and James Naughton would be proud of—slick, sleazy, and wrapped in glitz. His vocals were rich and polished, bringing playful irony to “All I Care About Is Love” and razor-sharp comedic precision to “We Both Reached for the Gun.” Cervantes’ chemistry with Ellie Roddy’s Roxie Hart was electric, creating dynamic scenes full of rhythm and tension. Every moment he stepped onstage, he commanded attention with confident showmanship and a fresh yet classic take on Billy Flynn, making his performance one of the evening’s highlights.

While all the numbers had their shining moments, I personally loved the performance of “Mr. Cellophane,” my favorite song in the production. Marc Christopher as Amos delivered one of the best interpretations of the role I’ve seen, leaning into a childlike, stooge-like quality that made his loneliness both humorous and heartbreaking. For a man who is never seen, he certainly stood out.

I have to take a moment to praise the performance of J. Clanton as Mary Sunshine. Clanton’s voice was golden, bringing impeccable vocal control and a bright, buoyant energy to every moment onstage. Their soaring vocals were both surprising and captivating, making the reveal all the more deserving of the roaring applause it received. An absolute standout—excellent job!

The choreography—Fosse-inspired and flawlessly executed—was a true highlight, showcasing the ensemble’s incredible athleticism and attitude. The orchestra’s placement onstage rather than in the pit made them feel like an integral character in the show. The bandleader was outstanding, and the musicians elevated every number with rich, vibrant sound.

The lighting and staging were sleek and sophisticated, perfectly capturing the musical’s sultry, vaudeville atmosphere. It was especially striking during “Give ’Em the Old Razzle Dazzle,” with hypnotic lighting effects that complemented the mood and lyrics beautifully.

The audience felt every moment, many rising to their feet on the final note in enthusiastic applause. We were swept up in the glamour, grit, and rhythm of the show. Chicago delivered a knockout performance—bold, brilliant, and brimming with showbiz sparkle. A must-see for musical lovers and a triumphant night at Popejoy Hall.

Chicago runs until November 16th. Tickets can be purchased at popejoypresents.com.