CHICAGO is not like most musicals.

It has a long, authentic history having been written by a journalist who visited murderesses in jail in the 1920s and who features in the sensationalised story herself.

But it is not the truth behind the seductive courtroom drama which makes the stage version so memorable – it is the sexy, highly stylised dance routines, unforgettable score and brilliant storytelling on the simplest of sets.

Unusually, the audience is introduced to characters and big numbers throughout by the ensemble who take their breaks from punishing dance routines on seats which act as corridors on either side of the lively band positioned centre stage, a nod to slick lawyer Billy Flynn’s belief that all legal proceedings are just showbiz.

Flynn (John Partridge) is representing Roxy Hart (Hayley Tamaddon) who readily admits she shot her lover for daring to leave her but will stop at nothing to realise her dream of becoming the ultimate showgirl. But fellow murderess and Roxy’s rival for media attention Velma Kelly (Sophie Carmen-Jones) is also willing to put on a show on the stand in a desperate bid for tomorrow’s front page.

Their only support is prison guard Matron Mama Morton (Sam Bailey) and Roxy’s long-suffering husband Amos Hart (Neil Ditt).

X Factor winner Sam Bailey proves her worth in her musical debut with unmatched power in herl voice, Eastender John Partridge plays it cool as Flynn, made famous by Richard Gere in the 2002 film, the dirtiest lawyer in Chicago and Neil Ditt is charming as he gives Amos a voice in the touching Mister Cellophane.

But it is Coronation Street star Hayley Tamaddon and relative newcomer Sophie Carmen-Jones who shine as the villainous temptresses. They both give it everything, at times performing complicated dance routines whilst pretending to be a double act, as a ventriloquist’s dummy and hanging from a high ladder at the side of the stage and yet manage to remain completely composed and utterly compelling.

Featuring what is probably the sexiest, most flexible set of dancers you will ever see on stage, the stunning dance routines are moving art. Every hand and flex of their muscles is planned to perfection and under seductive spotlights, the effect is mesmerising.

Using only a few burlesque feathers and umbrellas and with no costume changes throughout the show, there is nowhere to hide none more so than in the captivating choreography of Razzle Dazzle. 

Chicago the Musical at the Bristol Hippodrome all this week is breathtaking and beautiful to watch, it is musical theatre at its very best.