Take one of the most iconic and beloved Broadway musicals—second most performed!—and blend it with charismatic, talented singer-actresses, a lively production exuding glamour and sex appeal, visual over-the-top kitsch and grandeur, sprinkled with humor, and you get Chicago, in the version just premiered in Montreal at the St-Denis Theatre under the “Just for Laughs” banner.
The audience at the high-profile premiere on Thursday, June 26th, was especially enthusiastic and showy, packed with VIP guests (see our red carpet photos here), and unmistakably lively.
Right from the end of the first act, the crowd erupted into loud, genuine applause. Roxie Hart, the iconic character (played by the charismatic and somewhat rebellious Véronic DiCaire), had just pulled the strings on her lover, and the highly polished choreography of “C’est ça le jazz”—yes, the songs are in French—revolving around that quintessential Chicago tune, all dressed in black (the dominant color of the show), had the entire assembled glam squad at the St-Denis electrified.
And what about the triumphs of the stellar “Tango Carcéral”, where Roxie’s new cellmates confess their crimes (“You know, some men just can’t handle arsenic…”)! Or the sultry Roxie herself, as she flaunts her not-so-innocent background, ambition for fame, and vaudeville dreams. Moreover, the segment “J’peux pas faire ça toute seule”, where Roxie’s mentor and rival, Velma Kelly (played by Terra Ciccotosto MacLeod), reveals her vulnerability.
By the end of the first act, a big surprise awaited those unfamiliar with Chicago. In the second act, the narrative deepens around Roxie and Velma’s prison escape obsession—based on a true case, by the way—guided more or less effectively by the manipulative lawyer Billy Flynn (Michaël Girard). This part of the show is a tribute to women’s power and ambition, and even today, Chicago remains a vivid reminder of strong, defiant women who dream big.
One might have thought that after last year’s “Waitress”, the 2023 “Hair”, and the 2022 “Annie”, family-friendly productions, “Just for Laughs” would be playing it safe by choosing Chicago, a celebrated and highly regarded cultural treasure with more subversive themes—murder, greed, violence, corruption, set against the jazz cabarets of the 1920s—making it far more adult and daring than its predecessors.
Yet, by early June, over 50,000 tickets had already been sold. Clearly, the enduring allure of Bob Fosse’s American classic refuses to fade, even after more than 10,000 performances on Broadway since 1996, and adaptations across 38 countries and over 525 cities worldwide. Did you know that Quebec first saw a local version in 2003, featuring Véronic DiCaire, Terra Ciccotosto MacLeod (reprising her role again in 2025!), along with Anthony Kavanagh, Laurent Pagnier, and Kathleen Fortin?
Despite the show’s glitz—sometimes bordering on ostentation, admittedly, and not the most subtle of productions—Chicago will captivate genre enthusiasts and serve as a splendid introduction for newcomers alike.
The contrast of sentimental numbers like “Mon bébé et moi” and “Monsieur Cellophane” (with Neev’s excellent performance as the “invisible” Amos Hart) is offset by other vibrant acts, such as Roxie’s courtroom appearance and the impressive final scene.
The show features a cast of 35 performers, including a lively 15-piece orchestra on a stage at the back, which, far from being mere decoration, actively contributes to the overall energy (notably, the brass section gets a well-deserved spotlight after intermission). Our Chicago holds its own against international productions, thanks to director Benoit Landry (who worked on “Plaines de Chansons,” “Lili St-Cyr,” and “Serge Fiori – Seul ensemble,” among others, and who was also involved with the canceled Quebec national day show in June). He clearly aimed to highlight the class and elegance of Chicago.
The actors’ performances are spot-on without veering into caricature, and their voices—mainly those of Véronic DiCaire (Terra Ciccotosto MacLeod) and Mélissa Bédard, though the latter has fewer moments—are consistently stellar.
And of course, part of the show’s charm is that, in the Quebec version, the dialogue and lyrics are infused with local flavor. Expect some colorful Quebecois expressions—like “Maudite marde”—and risqué jokes sprinkled throughout, with a certain unmistakable Quebecois flair: the line “câl*sse!” that Véronic DiCaire—playing Roxie—utters in a moment of shock upon realizing her crime might cost her her life, just can’t be beat. Kudos to Manuel Tadros for his clever translation of the original libretto.
Chicago runs at the St-Denis Theatre in Montreal until July 27. Afterwards, it heads to the Capitole Theatre in Quebec City from August 9 to 31, and then to the Casino du Lac-Leamy Theatre in Gatineau from September 10 to 21. Visit chicagolacomediemusical.com for more details.
Let’s not forget that another highly acclaimed musical, also touring in Quebec, continues to be performed and loved by audiences.
