The production of Chicago the Musical on tour at Capital One Hall offered a night of razzle-dazzle, though it fell just short of fully igniting the stage. While the performance featured moments of brilliance and musical highlights that captured the sultry spirit of the Jazz Age, it didn’t quite stand apart from other renditions of this iconic American musical. That said, the cast delivered enough standout moments to keep the audience engaged and entertained throughout.
Based on the 1926 play by Maurine Dallas Watkins and first performed in 1975, Chicago features music by John Kander, lyrics by Fred Ebb, and a book by Fred Ebb and Bob Fosse. It remains the longest-running American musical on Broadway. Set in the roaring 1920s, the show blends dark humor and satire to explore themes of fame, corruption, and media sensationalism through the story of Roxie Hart, a housewife turned fame-hungry murderer who finds herself on trial. Alongside her is Velma Kelly, a fellow femme fatale navigating the spotlight and courtroom drama.
The show began with strong momentum. On a minimalist stage with the orchestra prominently placed at center, the opening number made an immediate impact. Dancers in sleek all-black costumes burst onto the stage with their acrobatic choreography and fluid jazz movements, paying homage to the original Fosse style. The visual simplicity of the set design allowed the choreography and performers to shine, and the costuming heightened the production’s themes of allure and mystery. A particularly clever design choice was having Amos Hart, played by Andrew Metzger, not wear all black — symbolizing his outsider status in a world driven by glamour and scandal.
While the production adhered to the style and energy that Chicago is known for, there were some missed opportunities to elevate key scenes. For example, a more dynamic costume change during “Hot Honey Rag” could have added an extra burst of spectacle, emphasizing the scene’s showbiz flair. Scene transitions also occasionally felt abrupt, with some sequences lacking the fluidity that might have better maintained narrative cohesion. Still, the pacing held steady overall, and the energy never waned long enough to lose audience interest.
From an acting standpoint, the tone leaned heavily into comedy — almost veering toward a Disney-like exaggeration in some moments. This caused some characters to feel one-dimensional. Andrew Metzger’s Amos brought consistent laughs with his endearing cluelessness and “sad clown” persona, but a deeper emotional portrayal could have made his performance more resonant, especially in numbers like “Mister Cellophane.” Taylor Lane as Velma Kelly was a standout. Her delivery was effortlessly charismatic, and her musical performances crackled with intensity and control. Lane captured Velma’s complexity — part ruthless diva, part sympathetic survivor — with finesse.
Musically, the production hit many of the right notes. Numbers like “All That Jazz” and “When You’re Good to Mama” delivered in vocal execution and choreography. However, one of the more anticipated scenes — the courtroom tap routine in “Tap Dance” — fell somewhat flat. Instead of the explosive, rhythm-driven spectacle often associated with the number, the choreography opted for subtle foot slides and restrained movement. While still entertaining, it diluted the scene’s usual dramatic punch. Similarly, “Cell Block Tango,” one of the show’s signature ensemble pieces, lacked some of the intensity and elaborate staging fans may expect. The number was performed with precision, but the minimalist movement and sparse blocking made it feel more subdued than sizzling.
Despite its imperfections, the production succeeded in keeping the spirit of Chicago alive. It delivered humor, spectacle, and style in equal parts, even if it didn’t fully reinvent or distinguish itself from other versions of the musical. The cast’s dedication was evident, and their enthusiasm translated into a lively experience for the audience. In conclusion, Chicago the Musical at Capital One Hall may not have completely dazzled from start to finish, but it provided a satisfying evening of theater filled with memorable performances and timeless music.
Running Time: Approximately Two hours and 30 minutes, with a 15-minute intermission
Chicago the Musical plays through June 1, 2025, at Capital One Hall, 7750 Capital One Tower Road, Tysons, VA. Tickets start at $72 and can be purchased online.
The cast and creatives for Chicago the Musical are on the national tour website here.
Chicago the Musical
CAST
Velma Kelly: Taylor Lane
Roxie Hart: Ellie Roddy
Fred Casely: Brad Weatherford
Sergeant Fogarty: Christopher Cline
Amos Hart: Andrew Metzger
Liz: Eliza Levy
Annie: Chrsitina Youngblood
June: Angelliz M. Rosado Ramos
Hunyak: Lindsay Lee Alhady
Mona: Faith Jordan Candino
Matron “Mama” Morton: Illeana “illy” Kirven
Billy Flynn: Connor Sullivan
Mary Sunshine: D. Fillinger
Go-to-Hell-Kitty: Zoie Lee
Harry/Martin Harrison: Roberto Facchin
The Doctor/The Judge: Josh England
Aaron: Simeon Rawls
The Bailiff/Court Clerk: Timothy Scott Brausch
The Jury: Chase McFadden