The Cast Photo by Jeremy Daniel

The musical tells the tale of two 1920s women, Roxie Hart and Velma Kelly, awaiting trial in the Cook County jail for murder. Both women hope to transfer their notoriety into showbiz fame if they can gain their freedom with the help of slick lawyer Billy Flynn. Chicago originally played on Broadway in 1975 but didn't become the megahit it is now until its 1996 revival, based on an earlier Encores! concert staging. The current Broadway revival celebrates its 30-year anniversary this year.

The book by Bob Fosse and Fred Ebb is structured as a vaudeville comedy, allowing for laughs and pizzazz while addressing the seedier side of life. The dance-filled storytelling exudes the sexy and steamy style of Fosse, and the dialogue showcases the wit and humor of Ebb at his best.

The score by John Kander and Fred Ebb is filled with classic songs–such as "All That Jazz," "Cell Block Tango," and "Nowadays"which fit perfectly with this sophisticated, yet seductively stark story. Kander's thrilling music is showcased in "Roxie" and "All I Care About." Ebb, who passed away in 2004, provides masterful lyrics throughout. His work on "Class," as Velma and Mama Morton convey their dismay over the lack of manners by their 1920s contemporaries, uses everyday words and unforced rhymes magnificently to create a witty song well-suited to the characters and commenting wryly on the times and situation at hand. It is in "We Both Reached For the Gun" that Kander and Ebb, along with Fosse's unique vision, are at their finest. This not-so-subtle rendering of lawyer Flynn's manipulation of the press is theater genius.

In this non-Equity cast, Ellie Roddy is playful and endearing as Roxie, capturing the requisite combination of naiveté and crassness for the character. Claire Marshall portrays Velma with a mix of goofy desperation and deadpan steeliness. Both leading ladies are wonderful singers and top-notch dancers. Max Cervantes is a suave, matter-of-fact, and aptly cold lawyer Billy Flynn, and provides impressive vocals. Illeana Kirven is a polished and warm, yet conniving, Mama Morton, and garners a lot of appreciation from the audience. As Amos, Roxie's sad-sack husband, Marc Christopher is humorously sympathetic, appropriately demoralized, and droll, but also an excellent singer. J. Clanton balances camp with a degree of believability, along with notable vocal acrobatics, as Mary Sunshine. The energetic and talented ensemble executes the high-octane choreography with grace and sex appeal aplenty.

Revival director Walter Bobbie provides sharp direction and style, which strips away all that's unnecessary and shifts attention to the strong score and book. There's also fluid and seductive choreography by Ann Reinking, closely based on Fosse's original work. Musical director Andy Chen leads the fun and energetic onstage band. John Lee Beatty's bare-bones scenic design is just enough, and the lighting by Ken Billington varies between flashy and stark, as the setting requires. William Ivey Long's sexy costumes are all in shades of black and designed to both accentuate the human body and showcase the dance moves.

Chicago, which reminds us of our modern obsession with celebrity (and its often brief lifespan) seems as timely as ever. The slickly presented musical is magnificently crafted and the current national tour boasts a memorable and first-rate cast.

Chicago runs through March 29, 2026, at the Aronoff Center, 650 Walnut St., Cincinnati OH. For tickets and information, call 513-621-2787 or visit cincinnati.broadway.com. For information on tour, visit chicagoontour.com,