After a seven-year hiatus, Toronto Musical Productions has returned to the stage with a spirited and stripped-down community-theatre revival of Chicago at the Alumnae Theatre. Directed by Jon Alexander, choreographed by Isabel (Izzy) Truman, and with musical direction by Michael Grieco, this minimalist production leans into the show’s vaudeville roots while spotlighting the energy and enjoyment of its cast.
Set in 1920s Chicago, the musical follows Roxie Hart (Jessica MacNeill), a chorus girl who murders her lover and spins the crime into a media frenzy. With the help of silver-tongued lawyer Billy Flynn (Charlie Davidson), Roxie vies for celebrity status, much to the chagrin of vaudevillian rival and fellow murderess Velma Kelly (Mary Bowden). The satirical score and book by Kander and Ebb take aim at a justice system more concerned with headlines than truth, aided by crowd-pleasing signature numbers like “All That Jazz” and “Razzle Dazzle.” With the backdrop of a corrupt legal system and a press corps hungry for scandal, Chicago unfolds as a sharp-edged commentary on fame and media spin that remains topical and relevant in 2020s Toronto.
This production makes effective use of its limitations. Rather than elaborate sets, it relies on a few purposeful props and smart staging choices to frame scenes like “Cell Block Tango” in the jail and the courtoom trial sequence – in both of which the ensemble shines. The orchestra sits centre-stage throughout the show, lending the show a cabaret vibe that evokes a 1920s nightclub and provocatively blurs the line between style and substance. The result is a strong period atmosphere – though it occasionally leads to sound imbalance, with some vocals competing to be heard over the music.
That said, the production’s greatest strength lies in the cast’s obvious enthusiasm for the material and the songs. MacNeill brings a sly charm and vocal power to Roxie, which are matched by Bowden’s commanding presence as Velma. Davidson’s smooth and self-important Billy Flynn anchors key musical moments with confidence, while a sad-sack Ted Powers draws sympathy as Roxie’s downtrodden and overlooked husband Amos. Ngaio Potts brings comic force to Mama Morton, and Michelle Bayton adds warmth as Mary Sunshine.
And the show’s Fosse-inspired ensemble numbers are particularly effective — both well-paced and filled with infectious energy. “Roxie”, “All I Care About”, and “We Both Reached for the Gun” make inventive use of the limited space available, while the cast’s collective commitment to the show is unmistakable and laudable. Judging by the audience’s frequent laughter, applause, and cheers, it’s clear this production has struck a strong chord.
Toronto Musical Productions’ Chicago does not aim merely to “give them the old razzle dazzle” of simple spectacle. Instead, it delivers a focused, engaging, and heartfelt revival. More than anything, this feels like a celebration: of live performance, of camaraderie, and of community. After a long pause, the company’s return to the stage is welcome and well worth the wait.
Toronto Musical Productions’ Chicago runs until June 28, 2025. Tickets are available here.
© Arpita Ghosal, Sesaya Arts Magazine 2025
