I MUST confess that having seen mort than a dozen productions of John Kander and Fred Ebb’s musical version of Maurine Watkins 1926 play since it first hit the stage in 1975, I came to this new production with a rather jaded palate. However, it took only a few minuets, and Djalenga Scott’s Velma Kelly leading the ensemble in All that Jazz, for me to change my mind, as a fine banquet of music, drama and comedy was laid out before me.

First and foremost we had, under the guidance of MD Neil Macdonald, ten musicians sitting in full view on stage producing genuine live music. Music and lyrics that were steeped in the decadence and dishonesty of 1920s Chicago, a period when, if you were an attractive young woman and could find the money to employ a fast talking con-man shyster lawyer, your chances of getting a not guilty verdict when accused of murder were almost 100 per cent.

The ghost of legendary choreographer/director Bob Fosse, who joined Ebb to write the book, hangs delightfully over this fast-paced production. Every time the strong, handsome ensemble appeared in their own right or backing a principle, that distinctive Fosse movement appeared. They were also there in the movement of Faye Brookes fiery, quick-witted Roxie Hart, as she looked to set herself up in show business after “beating the rap” for cold-bloodedly shooting her lover Fred Casley (Josh Crowther), and Djalenga Scott, as Roxie’s great rival Velma Kelly, moving with the elegance of a classic contender thoroughbred racing filly.

Not just one big top-note number after another for this pair, with numbers varying from their nostalgic duet Nowadays to the satirical Me and My Baby, Velma alone in I Can’t Do It Alone and with the real boss of the prisoners Mama Morton (the vocally and dramatically powerfully Brenda Edwards), in Class.

Strictly Come Dancing professional dancer Kevin Clifton, although strangely underused as a dancer, proves more than just good value as a singer and actor creating, a very believable grab-all, think-on-your-feet lawyer Billy Flynn. Surrounded by a girls chorus welding huge pink fans a la Busby Berkeley, Kevin led a show-stopping Give Em’ the Old Razzle Dazzle number.

And while Kevin brought the audience to their feet in appreciation, Joshua Lloyd was milking every last drop of sympathy with his portrayal of Roxie’s rather pathetic, easily-led husband Amos. His Mr Cellophane solo had the audience cheering him on in sympathy at his plight.

And for those who have never seen Chicago I will not disclose the secret behind Jordan Lee Davies’ splendid Mary Sunshine and terrifically presented A Little Bit of Good.

Maurine Watkins based her characters on real people and events she had seen in the Chicago courts, and for all the satire and out-and-out comedy, there are real people, not all lovable, behind the characters in this musical, a fact that is not ignored in this expertly drawn and presented musical portrait of the roaring twenties.

GRP