REVIEW: Chicago: The Musical — Queensland College of Dance

Presented by: Queensland College of Dance

Venue: La Boite Theatre

Directors: Tim Hill & Jacqui Devereux

Musical Director: Ben Murray

Choreography: Tess Hill

Assistant Choreographer: Lauren Bensted

Costume, Makeup & Wigs: Lucia Umpierrez, Megan Cattel & Eulla Cadoo Dagley

Set & Props: Tamsyn Doyle & Lily Davis Steer

Book by Fred Ebb & Bob Fosse | Music by John Kander | Lyrics by Fred Ebb

Few musicals are as instantly recognisable or as intimidating to stage as Chicago. Set in the glitzy, gin-soaked 1920s, it tells the story of Roxie Hart, a wannabe vaudeville star who shoots her lover and finds fame for all the wrong reasons. In prison she meets nightclub sensation Velma Kelly, already notorious for killing her husband and sister, and the two compete for the spotlight under the silver-tongued showmanship of lawyer Billy Flynn. It is a cynical, sexy satire of fame, justice, and the line between murder and marketing — and after fifty years on stage, it is still as sharp as a stiletto!

Under the direction of Tim Hill and Jacqui Devereux, Queensland College of Dance delivered a fresh, fast-paced and fabulously polished production that captured the show’s signature style and bite. Rather than reinventing the wheel (or the garter), Hill focused on what makes Chicago timeless: razor-sharp choreography, tongue-in-cheek humour and a pace that never lets up.

Performing in the round at La Boite Theatre was an inspired choice — in fact, I’d argue it’s the only way to stage Chicago. The raised centre platform allowed the action to unfold from every angle, while the cast made excellent use of the aisles (there are no wings in this venue, after all, so they made the space part of the spectacle). The twelve-piece orchestra, led by Ben Murray, occupied the rear of the stage like a jazz-age powerhouse. The brass section in particular was outstanding, and the sound balance through the microphones remained clear throughout.

The pre-show set the mood perfectly, with the ensemble slinking into the space as the audience settled, welcoming us into their smoky jazz club world. Each performer made their own acting choices, so my eyes were darting around trying to take it all in. Then, with a crisp “five, six, seven, eight,” the band struck up that iconic overture and the night took off. All That Jazz was sultry, precise and bursting with ensemble energy. The vocals blended into a lush wave of sound, never overcrowding the mix. The dancers captured that delicious restraint that defines Fosse: clean lines, controlled movement and a slow burn of sensuality. Tess Hill’s choreography was tight, stylish and consistently well executed, particularly in Cell Block Tango, where the red lighting, storytelling and full-cast power hit like a freight train during the final chorus.

Demi-Ann Klocek was sensational as Velma Kelly, a bona fide triple threat who strutted across the stage with the confidence of someone who knows exactly where every spotlight will hit. Her big solo I Can’t Do It Alone was part vaudeville, part cardio marathon, showcasing her jazz, tap, and acro skills without a hint of breathlessness by the end (if it were me, I’d have been flat on the floor by verse two!).

Bella Cox infused Roxie Hart with feisty, cunning allure, playing her as a short-tempered firecracker with a dazzling smile and a knack for manipulation. Her acting felt honest and instinctive, and her comedy was spot-on. While her lower range occasionally disappeared beneath the orchestra, her bright upper register more than made up for it. My Baby and Me was a sparkling highlight, complete with her perfectly synchronised dancers, and she delivered her solo Roxie with devilishly shameless sass.

Claudia Heffer’s Billy Flynn was all charm and cheek with just the right hint of smarm — the kind of lawyer who could talk their way out of anything. She oozed confidence from her first entrance, tap dancing with flair and singing with a rich, confident tone. I loved the speed and precision of her delivery, especially in Both Reached for the Gun, where her nasal “ventriloquist dummy” tone was spot-on. The dancers in All I Care About were a vision, trotting around her like glamorous showgirl peacocks, feathers fluttering in perfect formation. While the song could have used a little more punch in the final high notes, Claudia made a dazzling vocal comeback in Razzle Dazzle, bathing the courtroom in sequins, feathers, and pure Broadway bravado. With all its tricks, sparkle, and swagger, it was one of the show’s most spectacularly staged sequences.

Luka Kovac oozed authority and surprising warmth as Matron “Mama” Morton. When You’re Good to Mama sat a little low for her range, but she still radiated confidence, and belted the roof off when required. Laine Devoy was ideal casting as Amos Hart; his Mister Cellophane was heartfelt and beautifully delivered, a professional-level performance that earned genuine empathy.

Scarlet Yadlosky as Mary Sunshine was a riot: operatic, unhinged and unafraid of looking ridiculous (and I mean that as high praise). The Merry Murderesses — Kiyah Bourke, Georgia McNamara, Rhiannon Baird, Kate Hollis and Jess Wardle — were dynamite. Cell Block Tango was electric with the blood-red lighting, precision movement and whipcrack fire on every “he had it coming!”

Visually, this production was stunning. The lighting design captured every mood: sultry reds for the murderesses, cool blues for the prison scenes, and golds for the vaudeville glamour. The costume team, led by Lucia Umpierrez, Megan Cattel and Eulla Cadoo Dagley, nailed the black-lingerie aesthetic with sheer fabrics and sharp tailoring. I loved the varied textures, bold red lips, and perfectly secured wigs (always a win). A few small tweaks could have elevated the lead costumes even further: a flapper silhouette or detailed bodysuit for Velma would have complemented her athletic, star-quality style more than the bare black, and a slip or chemise might have saved Roxie from those constant mid-scene adjustments to pull the dress down and fix the sleeves. Minor notes for comfort rather than critique.

The set by Tamsyn Doyle and Lily Davis Steer was smart and functional, with the raised centre platform giving height and shape to the action. Props were minimal and purposeful, enough to tell the story without cluttering the stage. The trial scene was a triumph of direction and blocking: snappy, witty and bursting with tongue-in-cheek absurdity (“Blah blah blah truth truth truth so help you God? I do.”). Class was a smoky delight between Demi-Ann and Luka, My Own Best Friend showcased lovely vocal chemistry between Bella and Demi-Ann, and the Nowadays finale framed the pair beautifully. I also adored the ensemble costumes for this number. Then came Hot Honey Rag. The band absolutely slayed it, and the choreography for the girls was perfection — a glitzy exclamation mark on an already impressive show!

It might be a little risqué for a student showcase, but a brilliant choice to highlight such a large, talented ensemble. The production was bold, charming, and executed with absolute professionalism. Every performer gave their all. They managed to bottle the razzle, the dazzle, and the heart, and I left the theatre muttering, “My exit music, please!”