From the moment it starts, Chicago is sultry, sexy and cool. Having had an extremely successful revival over the past decade, it’s fantastic to see how this production has kept all the fun and original elements of the musical in place, while making it different to anything I have ever seen on stage before.

The set is centred around the band and the cast use it to its full potential, involving them in the storyline.

The musical is based on a true story from the 1920s where the glamorous Roxie Hart, who is accused of murdering her lover in cold blood, hires lawyer Billy Flynn to save her from the hangman’s noose.

Flynn has his own unconventional way of defending his clients in the courtroom, making Roxie infamous overnight.

This adaption is witty, intelligent and entertaining, demonstrating the fickle nature of celebrity, showing that today’s news can easily become tomorrow’s fish and chip wrappings.

The choreography is astounding, in that it is as funny as it is clever, bringing the story to life without being too overt or obvious.

The cast are also a sight to behold. With not an ounce of fat between them, their muscular, sinewy bodies glide across the stage with ease.

Mentions should go to Twinnie-Lee Moore who plays Velma Kelly with gusto, and who also has the longest pair of legs I’ve ever seen.

Miriam Elwell-Sutton portrays Roxie well as a calculating vixen who can turn on vulnerability at the flick of a switch. Adam Stafford puts in a sterling performance as her downtrodden husband Amos, and GE Weaver certainly amused the audience on Thursday as reporter Mary Sunshine. Gary Wilmot is well cast as cocksure Billy Flynn.

A traditional musical with a twist, it is well worth going to see.

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