I discovered the soundtrack of “Chicago” when I was in fifth grade after watching the 2002 film starring Catherine Zeta-Jones, Renée Zellweger, and Richard Gere, and I was immediately obsessed. When my parents would pick me up from school, the movie soundtrack would be blasting in the car, and I would belt out every word. 

After seven years, Chicago finally hit a stage in Seattle (the 2020 tour stops were cancelled due to the global pandemic) at the 5th Avenue Theatre from Oct. 22 – Nov. 2. Simply put, this show was worth the wait.  

“Chicago” tells the story of rivaling Vaudeville performers in Chicago, Velma Kelly (played by Claire Marshall) and Roxie Hart (played by Ellie Roddy), and their endeavors with men who have wronged them and the criminal justice system.

They compete for media attention, they argue over the fact that they share Billy Flynn as a lawyer (played by Max Cervantes), and they share a common goal: they want to get away with murder. 

Even more than that, “Chicago” tells a story of women who are fed up and jonesing to kick-start their own professional careers. This story is so iconic because it shows the downsides of having a massive ego, and yet the audience can’t help but root for Velma and Roxie. This story doesn’t try to sugar-cut murderers, and yet the audience falls in love with them.  

Highlights from this show, include the “Cell Block Tango” number, which features the “six merry murderesses” in the Cook County Jail, one of them being Velma, and how the men that they murdered “had it comin’.”

The choreography of this number is iconic for its use of chairs, similar to Taylor Swift’s routine for her song “Vigilante Shit” during the Eras Tour. With powerful lyrics filled with mini vignettes of each merry murderesses’ crime, this song is bound to be followed by roaring applause (which it was). 

While the fierce women of this story line are always a delight for the audience, another character pulled at my heart strings, particularly in this touring cast: Amos Hart (played by Marc Christopher), the husband of Roxie Hart. 

Amos is a character for the sweet at heart, those who feel invisible, and the people who will give others a second, third, and maybe even a fourth chance. His song “Mr. Cellophane” showcases his feelings of invisibility by comparing himself to cellophane. The character that is usually a pushover puts on a pair of gloves and steals the show for a number, complete with his own choreography and astounding vocals that progressively get better as the character gains more confidence. 

Another showstopper that is worth mentioning is the performance by Matron “Mama” Morton (played by Illeana “Illy” Kirven). Her main solo, “When You’re Good to Mama” highlights the politics of the criminal justice system from within jail. She sings about how if the murderesses of the Cook County Jail buy her off, she can make a phone call or two and get that murderess what she wants.

A Vaudeville act tour for after Velma’s release? The best criminal lawyer in town, Billy Flynn, for Roxie? Done and done, if the price is right, of course.

While this tour has ended its run in Seattle, the next time it comes around, it is a must see. “Chicago” is a show that reminds audiences why theatre is so magical. It has outstanding choreography, an amazing soundtrack … “and all that jazz.”