Review: CHICAGO at The Hawth, Crawley

Date: 11th August 2025

Stars: 4

Chicago isn’t the sort of show that eases you in – it arrives in a burst of brass and attitude, the band right there on stage with the cast, and within minutes you’re caught in its rhythm. At The Hawth last night, that rhythm was tight. The lights were low and moody, the choreography sharp, and the staging stripped back so that nothing distracted from the people telling the story. This is a show that trusts its performers, and for the most part, they repay that trust.

Janette Manrara’s Roxie Hart is quick-witted and restless, the kind of character who’s always three thoughts ahead of the room. She brings the precision you’d expect from a dancer, and uses it to make every little gesture mean something, and although vocally she’s not a belter in the traditional musical theatre sense, she leans into a lighter, playful delivery that works for a Roxie who manipulates with charm rather than force. It’s a clever take – you believe people would fall for her schemes.

Djalenga Scott’s Velma Kelly is her opposite in every way. Velma is commanding, deliberate, and impossible to ignore. Scott has the voice, the timing, and that indefinable air of danger that makes Velma feel unpredictable even when you know the script, and when Roxie and Velma are on stage together, the tension crackles. It’s not just two leads sharing space – it’s two women sizing each other up, seeing which one will blink first.

Darren Day gives Billy Flynn a smooth, easy charm, but there’s always a glint of calculation in his eyes. His “Razzle Dazzle” is a highlight, pitched somewhere between a sales pitch and a magic trick. Sinitta’s Mama Morton plays her cards slowly, with a knowing humour that keeps her scenes engaging. And Joshua Lloyd’s Amos is a quiet standout – his “Mr Cellophane” feels genuinely heartfelt, managing to be funny, sad, and quietly angry all at once.

The ensemble are what keep this Chicago ticking at full speed; they don’t just fill the background – they react, they play, they make the world feel busy and alive. The choreography is crisp, and the fact that the musicians are part of the set gives the whole thing a sense of being in a smoky, slightly dangerous club where the story could spill into the audience at any moment.

That said, the minimalist approach does have its drawbacks. There are a few moments – a number that goes on a beat too long, or a big scene that doesn’t quite land the emotional punch – where you find yourself wanting just a little more grit or spectacle. And with the pace being so relentless, the quieter beats don’t always have the space to breathe.

Still, the show never loses its momentum for long, and the combination of strong leads, sharp choreography, and a score that refuses to leave your head makes for a night that feels both polished and alive. You leave humming the songs, maybe trying a bit of the “Hot Honey Rag” in the car park, and thinking about just how much fun it is to watch a story told by people who are clearly enjoying themselves.

To see Chicago at the Hawth for yourself, tickets are available here: https://www.parkwoodtheatres.co.uk/the-hawth/whats-on/chicago