Greenlight Theatre's 'Chicago' Is Gritty, Glitzy and Unforgettable

In the razzle-dazzle world of Chicago, crime meets celebrity in a sultry, satirical musical set during the roaring 1920s. The story follows Roxie Hart, a housewife-turned-murderess who uses the media circus to climb her way to stardom. Alongside her is Velma Kelly, a vaudeville performer with her own murderous past and ambitions. As both women vie for the spotlight and the services of slick lawyer Billy Flynn, the lines between justice and showbiz blur into a glittering spectacle of manipulation, jazz and courtroom theatrics.

Greenlight Theatre Company brings this bold, biting classic to life at Riverside Church at Park and King, staging a production that leans into the musical’s dark humor and showstopping energy. With direction and musical direction by Anvar Gashimov and choreography by Lucy Graff, the show aims to dazzle as much with its style as its substance.

Staged in the intimate basement fellowship hall of Riverside Church, this Chicago production carries a way-off-Broadway grit that works remarkably in its favor. The confined space evokes the atmosphere of a Prohibition-era underground jazz club and becomes an asset rather than a hindrance, forcing the performers into close proximity with the audience and creating an immersive, almost confrontational energy.

After delivering a once-in-a-lifetime performance in Ride the Cyclone, expectations for Jo Lynn Fletcher as Roxie Hart were sky-high — and they exceed them with ease. Fletcher’s Roxie is sharp, calculating and endlessly watchable, blending comic timing with a raw, almost dangerous charisma. Whether flashing a knowing smirk or collapsing into crocodile tears, they navigate Roxie’s manipulative charm with precision and wit. Fletcher weaponizes Hart’s innocence and cunning, making every beat feel fresh and unpredictable.

Sadie Sims matches Fletcher beat for beat with a powerhouse turn as Velma Kelly. Sultry, commanding and unflinchingly bold, Sims brings a fierce edge to the role. Her “I Can’t Do It Alone” is a standout — not just for its vocal precision, but for the way she lets real, reluctant desperation cut through the sharp, intense choreography. Her vocals soar in “All That Jazz”, setting the tone for the show with style and swagger, while her comedic instincts shine in “I Know a Girl” and the intro to “Me and My Baby”, where she delivers some of the show’s biggest laughs. What makes her Velma truly memorable, though, is the depth she brings beneath the bravado — a woman who’s not just sharp and sexy, but fraying at the edges.

With charisma, charm and polish, Caden Christel steps into the role of Billy Flynn. He has a clear grasp of the character’s smarmy appeal, and his vocals are smooth and well-controlled. Still, Christel could benefit from stronger projection — his voice often gets lost, especially when joined by the ensemble, even at lower volumes. The raw talent is clearly there, and with continued training and experience, he has the potential to turn a solid performance into a commanding one.

As Matron “Mama” Morton, Brenda Schoenfeld offers a vocally confident performance, showing strong control and a clear understanding of the role. But there’s a sense that she’s holding back. The character calls for a little more grit and swagger, and while Schoenfeld brushes up against those edges, she never quite dives in. It’s a polished take, but one that could benefit from a messier, more lived-in approach.

Lisa Fleming shines as Mary Sunshine, delivering a performance that is both vocally superb and delightfully on point. She handles the role’s demanding soprano lines with elegance and ease, bringing warmth and charm to a character designed to be the picture of cheerful naivety. Fleming’s presence adds a bright contrast to the show’s cynicism, and she lands every moment with clarity and control.

Elijah Simms is absolutely dazzling as Amos, crafting an unforgettable performance that masterfully balances physical comedy and quiet devastation. He keeps the doofy charm intact but infuses it with a vulnerability that makes the character deeply sympathetic. His physicality is extraordinary, stretching and collapsing with vaudevillian flair that turns him into a living cartoon. Yet amid the broad comedy, Simms brings genuine pathos to the role without sacrificing a single laugh. His rendition of “Mister Cellophane” is delivered with such aching loneliness that it draws both laughs and tears in the same breath. It’s a rare kind of performance — one that embraces exaggeration without sacrificing sincerity, turning a moment of vaudeville into something quietly shattering.

Chicago pulses with intensity under Lucy Graff’s choreography. The movement is sharp, deliberate and unrelenting, giving the production a physical urgency that matches its thematic bite. The ensemble — made up of a wide range of body types — executes every step with strength, precision and full commitment, proving that power and control aren’t tied to uniformity. Anvar Gashimov’s musical direction ensures that the vocals stay tight and well-balanced. The ensemble vocals are tight and expressive, carefully balanced with the backing tracks and the leads. It’s a disciplined, collaborative performance that underscores the show’s ensemble-driven nature.

Greenlight Theatre Company’s Chicago hits hard with a clear vision and fearless performances. Staged in the intimate fellowship hall of Riverside Church, the production uses the space to its advantage, drawing the audience in rather than holding them at arm’s length. With standout turns across the board and an ensemble that moves and sings with cohesion and force, this is a confident, compelling interpretation that embraces both the glitz and the grit of Chicago.

Chicago runs Friday, May 23 through Sunday, June 1 at the Riverside Church at Park and King.

For more information, full cast and crew credits and links to tickets, visit the Chicago page here on JaxPlays.