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  Chicago at Cadillac Palace Theatre

Chicago

Cadillac Palace Theatre
151 W. Randolph Chicago

A true New York City institution, CHICAGO has everything that makes Broadway great: a universal tale of fame, fortune and all that jazz; one show-stopping-song after another; and the most astonishing dancing you've ever seen. No wonder CHICAGO has been honored with 6 Tony Awards, 2 Olivier Awards, a Grammy and thousands of standing ovations. It's also no surprise that CHICAGO has wowed audiences all around the world, including Mexico City, Moscow, Sao Paulo and South Africa. Whether you're looking for your first Broadway musical, whether you've seen the Academy Award-winning film and want to experience the show live on stage or whether you've seen it before and want to recapture the magic, CHICAGO always delivers.

Thru - May 12, 2019



Price: $27-$102

Show Type: Musical

Box Office: 800-775-2000

Running Time: 2hrs, 30mins; one intermission

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Cadillac Palace Theatre Seating Chart


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  Chicago Reviews
  • Highly Recommended
  • Recommended
  • Somewhat Recommended
  • Not Recommended

Chicago Tribune - Highly Recommended

"...George is not going to win a Tony anytime soon, but he is fun and charming and those are the main qualifications for this assignment. Plus, at one point, the big guy emits a glorious pure note that fully deserved the ovation it received."
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Chris Jones


Around The Town Chicago - Somewhat Recommended

"...While I love the concept and the story, this production is not up to what we have had in the past. I have to put th blame on having a football player, one Eddie George in the male lead role of Billy Flynn. This role calls for a stronger song and dance man ( I know, Richard Gere did the role in the movie version, and he is certainly not a song and dance man, but he was able or “Razzle Dazzle” us) The Heisman Trophy may be on Eddie George’s mantel, but I do not anticipate any Tony Awards for his musical performance!"
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Alan Bresloff


WTTW - Highly Recommended

"...Of course the musical – now in a knockout national touring production at Chicago’s Cadillac Palace Theatre that has an inexplicably brief one-week run (and arrives just as the “Fosse/Verdon” TV series airs) – is much more than that blunt litany of debauchery suggests. With its ferocious, 1920s-style jazz score (played in bravura style by a 13-piece onstage band led by Andrew Bryan), a cast of brilliant singer-dancers (who have some of the best legs in the business, and have ideally mastered the Fosse style, from suggestive pelvic rotations to snap-crackle-and-pop isolations), it is undeniably hard-edged and sexy."
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Hedy Weiss


Chicago Theatre Review - Highly Recommended

"...Smart audiences should drop everything, brave the chilly, wet Spring weather of the Windy City and hurry to the Cadillac Palace to catch this new touring production. It’s a Razzle-Dazzle redux. Theatergoers unfamiliar with this saucy, clever musical lampoon of our judicial system, as well as those who only know the show from the 2002 Oscar-winning film version, this production is calling your name. But, for musical theatre aficionados who are already big fans of this magnificent musical, and have forgotten the magical brilliance of this piece, treat yourself now. The name on everybody’s lips is gonna be “Chicago.”"
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Colin Douglas


Chicagoland Theater Reviews - Recommended

"... “Chicago” is back in town, if only for a week. The production is not perfect, but its pleasures obviously satisfied the large .opening night audience at the Cadillac Palace Theatre. The musical was born on Broadway near the end of the last century and shows no sign of ever leaving us. The New York City production is currently selling tickets into 2020."
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Dan Zeff


Chicago Theater and Arts - Recommended

"...the show is fun to watch. The orchestra, conducted by Andrew Bryan, is still on stage as the main set-design element and its vaudeville-style, bring-them-on performances across the front of the stage is still entertaining."
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Jodie Jacobs


Chicago On Stage - Highly Recommended

"...Chicago has always been a wryly funny and inventive show. Its vaudevillian structure breaks the fourth wall often, inviting the audience into the play and allowing its characters—especially Gordon’s Velma—to speak directly to us. Each number is a parody of one vaudeville trope or another, the best example being the ventriloquist act that Flynn and Roxie perform for the press, as she plays the “dummy” while he feeds them lines. (Croman is wonderful here.) It’s numbers like this that maximize the appeal of seeing the show live (as opposed, say, to watching the movie, which itself is excellent): we’re immersed in the opposing elements that make the jazz age fascinating: innocence and decadence."
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Karen Topham


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