Hop, boom, bip! And all that jazz! The anticipated musical Chicago, directed by Walter Bobbie, has finally landed at the Hippodrome in all its 1920s glory, bringing to a close the theater’s 2024/25 season of amazing shows. And what a great way to end a season. A quirky play bringing you sexy, diabolical scenes, with over-the-top antics that you almost can’t handle. Obviously, an audience favorite, the cast delivered on their intentions of an evening filled with intrigue, crime, swinging music, and high kicks. Sit down and enjoy!

Adapted from the play written by Maurine Dallas Watkins in 1924, Chicago is centered around actual crimes in 1920s Chicago, Illinois. During this era of jazz, flapper dresses, and illicit decadence, murder made you a star. The lead actresses, Taylor Lane, who played a wickedly sexy but classy Velma Kelly, and Ellie Roddy, who portrayed a funny, almost desperate Roxie Hart, bring to you the dark and whimsical journey of fighting their charges of cold-blooded murder of their respective lovers. With the help of their shared attorney, who is “all about love,” Billy Flynn, performed by the surprising Connor Sullivan, their antics to gain their freedom while gaining the fame they have been dreaming of is a riotous time to be had.

First, let’s give it up to the orchestra and the conductor/music director, Cameron Blake Kinnear. They were magnificent. From beginning to end they were the perfect and active backdrop to the drama that was unfolding on stage. All the hours of practice have very clearly paid off. They keep your feet tapping and head bopping. I almost did a little jazz hands during a couple of numbers myself.

Let’s quickly chat about why you are truly reading, the musical numbers. Of course, there are the famous and favorites like “All That Jazz.” And to be honest, there wasn’t a bad note to be heard throughout the whole production. The very thunderous applause at the end of each number would confirm that notion. But I have my personal favorites for this performance.

“Funny Honey,” showcasing the melodic, steamy voice of Roxie Hart, was shamefully delightful. Her voice was clear, and powerful without overwhelming the moment. You could hear the disappointment in her voice as she sang about her husband and then the switch to rage when his betrayal during his interrogation happened. It was quite an accomplishment, and she should feel good about her performance.

Another standout performance was the “Cell Block Tango” by Velma and the Girls. The re-creation of Ann Reinking’s original choreography, in the style of Bob Fosse, by Gregory Butler was outstanding! The slinky, sexy moves with the chairs were the consummate sneaky version of a PG lap dance. And the storytelling of all the crimes was entertaining and of course kitschy and filled with humor.

Then there was the visual fun of “All I Care About” with Billy and the Girls. The large feather fans scream 1920s jazz motif, although the best part is Billy Flynn and the magical note. His breath control is otherworldly, and by goodness golly me, it was fantastic. It honestly made the whole song because it was so unexpected, yet it rounded out the musical number superbly.

However, my surprising personal favorite was “Mister Cellophane” by Amos Hart, sweetly played by Andrew Metzger. He encouraged you to see the world through his eyes, where he knew he was invisible, as clear as cellophane, if you would. While the song itself brought out feelings of pity, he owned it and gave you a bit of laughter, and dare I say hope? The number made you feel like it might not be too late for him to have his moment in the sun.

My only criticism is the lack of a change in the setting. While there were minor additions like the rain of glitter and the curtain of gold and silver streamers, the set didn’t change. It became a bit stagnant and just became this dark “thing” for the orchestra to hang out in while the performers danced around it. I was a bit disappointed by that, but not enough that it ruined the show.

Overall, Chicago is a classic and acclaimed Broadway musical for a reason. It clearly brings laughter with its dark humor and a sense of nostalgia for years past, when people “had class.” It was a divine night with an amazing cast that deserved resounding applause. So, kudos for a job well done!

Running Time: Two hours and 30 minutes with a 15-minute intermission.

Chicago plays through June 8, 2025, at the Hippodrome Theatre’s France-Merrick Performing Arts Center, 12 N. Eutaw Street, Baltimore, MD. Purchase tickets ($58–$230) online or call 410.837.7400.

Complete cast and creative credits for the touring company are in the online program here.

COVID Safety: Masks are recommended but not required. The Hippodome’s Health & Safety policy is here.