Podcast Summary: "CHICAGO on Broadway... was great?! | how casting can return this revival to its razzle-dazzle roots"

Podcast: MickeyJoTheatre
Host: Mickey-Jo (MickeyJoTheatre)
Date: February 7, 2026

Episode Overview

In this episode, Mickey-Jo shares his recent experience seeing the Broadway revival of Chicago at the Ambassador Theatre. Unlike past visits, he was surprised to find that the performance was, in his words, "great in ways that I did not know Chicago could ever be again" [01:23]. This leads to a broader discussion about how the show's casting can drastically transform the energy, quality, and reputation of long-running revivals. Mickey-Jo delves into the history of Chicago's casting choices—including the notoriously prevalent "stunt casting"—and makes the case for returning to its "razzle-dazzle" roots through casting Broadway veterans.

Key Discussion Points & Insights

1. The Surprise: Chicago Was Actually Fantastic [01:23–03:45]

• Mickey-Jo shares his initial hesitation ("I had sort of resolved... I was going to do my best to resist the lure of the stunt casting") and why, despite expectations and previous experiences, he was prompted to see the show again.
• "For the first time I was able to truly appreciate what this production of Chicago was built to be." [04:58]
• The surprise was not just the impulse to see Chicago, but that the show was electrifying, thanks to an all-legitimate musical theatre cast.

2. Brief History of Broadway’s Chicago [04:59–13:00]

• Mickey-Jo recounts the origins of Chicago, noting that the original 1975 production, directed by Bob Fosse and starring Gwen Verdon and Chita Rivera, was "a little ahead of its time" [06:21].
• The revival began as a stripped-back Encores! concert staging, helmed by Walter Bobbie, choreographed by Ann Reinking in Fosse’s style, and later brought to Broadway by Fran and Barry Weissler.
• Key insight: The minimalistic revival format proved so effective that it eclipsed the original staging and even influenced the 2002 film’s aesthetic, giving Chicago a lasting brand.
• "It's not often that the aesthetic of a revival and its identity will eclipse the original production, but nowadays, when people think Chicago, they think of this production." [09:57]

3. The Effect of Stunt Casting—For Better or Worse [13:01–15:25]

• As the show became a Broadway staple, producers leaned into high-profile casting—often with "reality TV stars and personalities and singers and sports people and occasionally real life criminals" [03:17].
• Mickey-Jo acknowledges both sides: stunt casting keeps the show running and brings in new audiences, but it can undermine the show's artistry.
• "It's interesting... in recent years they've pulled in a lot of celebrities who are known for their dance talent... in spite of the fact that... Roxy is not actually that demanding in terms of the choreography." [13:56]
• He credits the show’s “celebrity” theme as a reason this sometimes works, but also describes times when the energy and integrity of the material seem to be lost.

4. The Cast That Changed Everything [16:39–22:54]

• This particular performance featured:
  • Robyn Herder as Velma Kelly: "The quintessential Velma Kelly... classic old school vocals and thrilling dance talent." [16:44]
  • Kate Baldwin as Roxie Hart: "I did not know had a Roxie Hart like this in her... fantastic... so much of it about her desperation and her lifelong dreams of fame and celebrity make more sense when you have a slightly older actress in the role." [17:30]
  • Emphasis on the dynamic between Kate and Robyn: "There was this brilliant sense of balance between Kate and Robin that we also lose sometimes." [18:10]
• Memorable moments:
  • "They were alive on stage and delighting in this material. Kate Baldwin was adding higher vocal choices at the end of Funny Honey... Gorgeous." [22:54]
  • Recollection of the multitude of classic numbers that only appear on stage, not in the movie ("brilliant numbers... that you're only going to hear in Chicago when you're seeing it on stage") [19:41].

5. Energy and “Razzle-Dazzle” Restored [19:00–22:54]

• Mickey-Jo contrasts the electric energy of this cast with previous, often lackluster, experiences:
  "If you see Cell Block Tango on screen, you will remember the ferocity of it... when I first saw it on Broadway, I was surprised by how underwhelming that number was... but not this time." [20:00]
• The overall company was filled with Broadway-caliber talent even in ensemble tracks, making the show feel fresh and vital.
• Alex Newell as Mama Morton: "Alex Newell surprised me... Playing with depth, playing with character, singing the system works... It was fantastic. It was genuinely show stopping, a word that is thrown around all too often, but something that Alex Newell knows exactly how to do." [23:28]
• Other notable ensemble members: Max Clayton and James T. Lane, both capable leads in their own right.

6. The Magic of Broadway Veterans [22:54–29:30]

• Mickey-Jo argues that the show’s “DNA” comes alive when performed by true triple-threats: "It sort of feels like an astrological event... every so often the stars will align... and some of those stars may appear together in Chicago on Broadway, transforming the show into what it used to be and reminding us of its brilliance." [28:43]
• He laments that this was a fleeting confluence, as the cast’s limited-run has since ended and the show has reverted to celebrity casting.
• “I will forever be glad that I had the opportunity to see Chicago in the way I think it's truly meant to be seen and isn't very often.” [29:30]

Notable Quotes & Memorable Moments

• "Is this the apocalypse? What is going on? Oh my God." [01:30] – Mickey-Jo, on being so unexpectedly thrilled by the performance.
• "For the first time I was able to truly appreciate what this production of Chicago was built to be." [04:58]
• "It's not often that the aesthetic of a revival and its identity will eclipse the original production, but nowadays, when people think Chicago, they think of this production." [09:57]
• "If they are capable of bringing an audience to the Ambassador Theatre, then there is a space for them at Chicago." [13:25]
• On the cast: “There was this brilliant sense of balance between Kate and Robin that we also lose sometimes.” [18:10]
• On Alex Newell: “It was fantastic. It was genuinely show stopping, a word that is thrown around all too often, but something that Alex Newell knows exactly how to do.” [23:38]
• “It sort of feels like an astrological event... every so often the stars will align... transforming the show into what it used to be and reminding us of its brilliance.” [28:43]
• "I will forever be glad that I had the opportunity to see Chicago in the way I think it's truly meant to be seen and isn’t very often." [29:30]

Takeaway & Final Thoughts [29:30–end]

• Mickey-Jo encourages listeners to value these rare, electrifying casts and urges audiences to see Chicago when the stars align again: "If it seems like it is, there is every possibility that I will go back and so should you." [29:52]
• He closes, as always, by inviting listener feedback and wishing everyone to “have a Stagey day and all that jazz.” [29:57]

Timestamps for Key Segments

• 01:23 – Opening remarks and why this performance was an unexpected delight.
• 04:59 – A brief history of Chicago: original and revival.
• 13:01 – Discussion of celebrity and stunt casting, and its impact.
• 16:39 – Breakdown of the exceptional cast that elevated this run.
• 19:41 – Rediscovery of the show's score and restoration of lost energy.
• 22:54 – Alex Newell’s show-stopping turn as Mama Morton.
• 28:43 – The rare magic of a fully Broadway-veteran cast.
• 29:30 – More musings on the show's cyclical brilliance and final sign-off.

In summary:
Mickey-Jo’s review is both a personal journey and a passionate argument for quality casting in long-running revivals. He demonstrates how, when filled with legitimate musical theatre talent, Chicago reclaims its electrifying roots, reminding audiences—and even jaded critics—why it endures as a Broadway classic.