CEDAR CITY — The first spoken line of Chicago tells the audience exactly what they’re about to experience: “Ladies and Gentlemen, you are about to see a story of greed, corruption, violence, exploitation, adultery, and treachery. All those things we hold near and dear to our hearts.” It perfectly sets the tone for one of Broadway’s most celebrated musicals.
For those unfamiliar with the show, that opening disclaimer is worth taking seriously. Chicago, with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse, isn’t a lighthearted family musical. Its story revolves around murder, scandal, media manipulation, and the pursuit of fame at any cost. In fact, murder becomes such a recurring theme that it almost deserves its own mention in the opening line. If those themes aren’t for you, this production may not be your cup of tea.
After embracing its dark satire, Chicago is an incredibly entertaining evening of theatre. The score is packed with iconic songs, the story remains as relevant today as ever, and the production at American Crossroads Theatre under director Rebekah Bugg proves there is no shortage of exceptional talent in Southern Utah.
Tamara Reber (as Velma Kelly) immediately commands attention with the show’s signature opener, “All That Jazz.” Her confident vocals, magnetic stage presence, and effortless charisma set the standard for the rest of the evening. Reber fully commits to every moment, portraying a performer accustomed to living in the spotlight while delivering one of the strongest performances of the night. She returns later with another standout moment in “Class,” where both her vocal blend and comedic timing shine.
Gig Jones brings infectious energy to Roxie Hart. Her interpretation leans into Roxie’s playful innocence with a breathy, Betty Boop-inspired vocal quality that contrasts nicely with the character’s ambition and self-serving nature. Jones’ performances of “Funny Honey” and “Roxie” showcase both her vocal ability and her gift for comedy, while allowing understanding why everyone continually underestimates her.
As Billy Flynn, Actors’ Equity member Trent Dahlin demonstrates exactly why he is such a seasoned performer. Every entrance exudes confidence, and his chemistry with Jones helps anchor much of the production. Dahlin never overplays the role, instead relying on smooth delivery, subtle charisma, and polished vocals to dominate the stage. His performances of “We Both Reached for the Gun” and “Razzle Dazzle” are among the production’s highlights, displaying not only strong vocals but a complete mastery of the musical’s vaudeville style.
Margaret A. Dunn (as Mama Morton) was my personal favorite of the evening. From the moment she stepped on stage, she projected confidence and authority while delivering one of the production’s strongest vocal performances. “When You’re Good to Mama” brought the audience to life with Dunn’s captivating presence and rich vocals, earning one of the evening’s biggest responses. She later reunited with Reber for “Class,” where the pair demonstrated excellent chemistry, impeccable comedic timing, and beautiful harmonies.
One of the biggest reactions came during “Cell Block Tango.” Reber, joined by the ensemble of merry murderesses, delivered one of the production’s most recognizable musical numbers with confidence and attitude. The ensemble embraced the number’s dark humor, crisp storytelling, and memorable one-liners, making it one of the evening’s most entertaining sequences.
Another pleasant surprise came from Taylor J. Wilkes as Amos Hart. His heartfelt rendition of “Mister Cellophane” was one of the production’s most sincere moments and showcased an impressive vocal performance earning enthusiastic applause.
This is an exceptionally talented cast, and the performances consistently carried the production. Most observations center less on the performers and more on the artistic and technical choices made behind the scenes.
Director Rebekah Bugg chose a minimalist approach to the production’s scenic design. Rather than relying on elaborate sets, the show depended heavily on lighting with only a handful of set pieces. While this choice certainly kept the focus on the performers, I occasionally found myself wishing for a stronger visual environment. A few scene changes felt slightly delayed, and at one point a movable staircase appeared unstable as it was assembled. Fortunately, the iconic rolling jail cells during “Cell Block Tango” were present and helped create one of the show’s most memorable visual moments.
Lighting also by Rebekah Bugg generally established the nightclub atmosphere effectively, although there were a few occasions when spotlights arrived a beat late or failed to fully capture the performer delivering an important lyric or line.
Becca Hollis‘ choreography is another area where expectations may simply be higher. Chicago has earned a reputation for its sharp, stylized Bob Fosse-inspired movement, and I found myself hoping for dance numbers with greater precision, complexity, and visual impact. The choreography served the production well and supported the storytelling, but it never quite reached a show-stopping level. Fortunately, the strength of the acting and vocal performances more than compensated.
Costume designer Jaimee Markham captured the iconic look of Chicago beautifully. The black costumes, fishnets, and sleek silhouettes perfectly reflected the musical’s signature aesthetic. A minor distraction came from a pair of brown shoes worn by one of the male dancers that briefly stood out against the otherwise cohesive design.
American Crossroads Theatre has taken on an ambitious production, and for a community theatre in Southern Utah, the results are impressive. While a few production elements could be refined, the remarkable talent assembled on stage makes Chicago an engaging and thoroughly entertaining evening. If you’re comfortable with its mature themes, you’ll be rewarded with memorable performances, iconic music, and a cast that proves Southern Utah continues to produce outstanding musical theatre talent.
MORE INFO: Chicago runs at the Heritage Center Theater in Cedar City through August 8, 2026, with evening performances at 7:00 p.m. and Saturday matinees at 2:00 p.m. Tickets range from $20–34 and can be purchased here: https://axrtheater.org/.
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