Honest Review of Chicago on Broadway – Is It Worth Seeing?

We have covered more than 20 productions so far, yet somehow never wrote about the classic Chicago. With high profile runs on Broadway and the West End in the UK, many readers may already know this title. On a whim we grabbed same day tickets and two staffers went to see it. Here is our report on Broadway’s Chicago, a show that has been going strong since its 1996 revival.

Chicago now playing at the Ambassador Theatre

A long running hit: “Chicago”

Since its 1996 revival, the show has passed the 23 year mark with more than 9,000 performances, making it a true long runner. Set in 1920s Chicago during Prohibition, the story follows the audacious Roxie Hart. The revival was nominated in two Tony categories and won five awards in 1997.

The production has also featured notable guest stars, including Ryoko Yonekura in 2012 and 2017, with a celebrated third run in 2019.

For plot details and highlights, see the page below.

　
• Detailed page for “Chicago” >>

The Ambassador Theatre hosting Chicago

Ambassador Theatre

Located on West 49th Street between Broadway and Eighth Avenue, the Ambassador Theatre stands out with its signature Chicago artwork.

Opened on February 11, 1921, the venue once served as an NBC television studio and a cinema. It is smaller than many Broadway houses, which means that you are pleasantly close to the stage from most orchestra seats.

Address: 219 W 49th St, New York, NY 10019

For seating charts and venue features, visit the theater page below.

• Ambassador Theatre details >>

Orchestra seating has a very gentle rake

Our first impression inside was that the orchestra floor is nearly flat. The house being small and intimate is one thing, but the lack of incline felt like what really stood out.

The upside: the closer you are, the better you see. The downside: a tall person directly in front would block your view.

Look up before curtain: elegant decor and a gilded proscenium

Before the show starts, take in the Adamesque interior details, from chandeliers to patterned walls and balconies, and the gilded proscenium arch that frames the stage like a golden grid.

Architect Herbert J. Krapp, a major figure of the 1920s theater boom, designed this house along with landmarks such as the Majestic Theatre and the New Amsterdam Theatre. Seeing Chicago in a venue steeped in Broadway history adds to the atmosphere.

Click images to enlarge

Pre show tips at the Ambassador

Check out the merch and a signature cocktail

The merchandise stand sits along the first floor corridor. The selection is compact, but you will find staples like T shirts (about $35) and hoodies (about $65). Posters change by period, so grab designs you like while they are available.

A practical pick is the CD plus program set (about $30). The bundle saves roughly $10 compared with buying separately.

Try the “Chicago” original cocktail

Many Broadway houses offer show themed drinks. Here, the signature is a blueberry vodka base with cranberry and lime, nicknamed the Very Berry Cosmo in honor of Velma Kelly.

Price was about $14, which is typical for Broadway. The mix was balanced, the vodka being not overly strong and not overly sweet as a whole.

If the main bar is crowded, head to the mezzanine bar

Food and drinks during a show are common here, so bars get crowded before curtain.

This theater has bars on the orchestra level, the mezzanine landing, and the second level. The mezzanine bar is often the quickest. Note that the signature cocktail is usually sold at the orchestra and second level bars only.

Our seats were orchestra side

We sat on the side in seat number 11, close to the wall. Being six seats in from the aisle sounded less than ideal at first, but in this house the view was better than expected even that far in from the aisle.

How to read the ticket: ORCHO D 11

Orchestra Odd = orchestra, odd numbered side
Row D (sixth from the front), seat 11

From sixth row center side, there were no major blind spots and the stage was easy to take in at a glance. In this relatively small house, most orchestra seats feel close. One caution: sightline from the very first seat at the extreme side can be considerably blocked by a pillar.

Sightlines from front center orchestra

Unlike many shows where the band plays below the stage, Chicago places the orchestra on stage. The audience sits very near the apron, with a low height difference between seats and stage.

Front rows here do not require an extreme upward gaze. You can see facial expressions clearly and sometimes even catch natural, unamplified moments of the vocals.

Sightlines from the front mezzanine

From the front mezzanine you can see the entire stage with minimal blind spots. The second level feels more like two and a half levels up, so the view is steep and comprehensive. It is often easier to watch from the mezzanine side than from an extreme side seat on the orchestra level.

Because the venue is compact, the front rows of the mezzanine are quite close to the stage, making them as strong a choice as mid orchestra. Note that the mezzanine is split into front and rear by a wide cross aisle, so the rear mezzanine sits noticeably farther back.

Thoughts after watching Chicago

We rewatched the film beforehand and that helped us enjoy the stage version even more. Much of the tone matches the movie, yet the stage feels classic in a way all its own. Walking in, the stage seemed small and spare, with the band set visibly on stage and almost no scenery. Then the curtain rose and the energy took over.

If you love jazz infused dance, this is your show

The opening brings a glamorous entrance and then a surge of choreography as the ensemble floods the stage.

The first number, All That Jazz, is the signature of Chicago, led by Velma Kelly with seductive vocals and crisp dance. The drive hardly lets up. While the story has its ebbs and flows, the company sings and dances full out to the end.

In the first act, Cell Block Tango delivers powerful storytelling through rhythm and movement, although for this moment it would be hard to catch up without knowing English too much. Knowing the context also helps, so a quick look at the film beforehand can enrich the experience.

Chicago proves that simple can be best

There are only minor shifts in staging. Ladders slide in from the wings now and then, but the set is essentially constant. Unusually for a musical, the set and costumes barely change. Most performers wear variations of black, semi-sheer outfits whether they are prisoners or civilians.

For roughly two and a half hours the show relies on acting, singing, and dance without flashy scene changes. That focus makes the score and choreography shine.

It is also why Chicago is often considered a proving ground for performers. Many use it as a launchpad to other major roles. The physical precision is intense, and the company looks as conditioned as athletes. Otherwise all these performs would be impossible to carry out, so convinced we were.

Chicago became only the third cast album I purchased after Aladdin and Dear Evan Hansen. Even listeners who don’t follow jazz will find these tracks bold and driving rather than background cafe music. If you’re curious, sample a few of the classic numbers.

Also read our feature on Ryoko Yonekura in Chicago