Before you allow yourself to be too razzle dazzled by that star rating, let Chicago the Musical’s most overriding swipe at celebrity culture and infamy linger for a second.

Namely; flavour of the month can change on a dime.

It’s a truth that transposes itself onto this new production of Ebb, Kander and Fosse’s fan favourite in a curiously meta fashion.

Take a glance at the show’s current tour schedule and it appears to almost be a dice roll of who will be appearing where. Head on down to Cornwall next week and 80s legend Sinitta will be temporarily reclaiming the reins of Matron ‘Mama’ Morton from Brenda Edwards. Pop along to Chicago by way of, say, Bristol or Canterbury and you get yourselves a different dose of Strictly goodness as Kevin Clifton dips in for a handful of venues, followed soon after by Darren Day.

So it behooves this reviewer to reiterate that, as a show that has always been heavily dependent on the quality of its cast – not to mention occasionally waylaid by clumsy stunt casting – those five stars are strictly (no pun intended) laid at the lineup Birmingham audiences have been treated to at the Alexandra this week.

We can’t be held responsible if you are reading this further down the line and your Billy Flynn proves a damp squib, or your Matron ‘Mama’ Morton can’t riff for the back rows.

But back to Brum, and although the bins may be piling high and the local council looks like something that could actually have been plucked directly from the great depression, the city can at the very least boast a truly glittering ensemble for its turn on the Chicago cast tombola.

Those familiar with the show will be pleased to know that this is very much the tale of ‘greed, corruption, violence, exploitation, adultery and treachery’ you know and love, staged with real Fosse-worthy pizzaz and zest. It’s a sexy, funny, silly romp through the misadventures and opportunism of jailbirds Roxie Hart (Janette Manrara) and Velma Kelly (Djalenga Scott) who find themselves banged up for murder.

And, as the tagline for Rob Marshall’s Oscar-gobbling 2002 film adaptation shrewdly chimed – if you can’t be famous, be infamous.

“Somehow both more heightened and stripped back at once on stage when compared to Marshall’s film adaptation, the current touring production really leans into the zanier, freewheeling hijinks of Ebb and Fosse’s book.”

Somehow both more heightened and stripped back at once on stage when compared to Marshall’s film adaptation, the current touring production really leans into the zanier, freewheeling hijinks of Ebb and Fosse’s book. As the two warring murderesses attempt to outdo one another, abetted by their slick operator of a lawyer (Dan Burton) and equally self-serving prison matron (Brenda Edwards), whole numbers omitted from the film are present and accounted for here, such as Roxie’s wonderfully goofy ‘Me and My Baby’ and Velma’s accompanying ‘I Know A Girl’.

Naturally, all the iconic favourites – from seminal opener ‘All That Jazz‘ onwards – are here, too, and in the hands of such a strong company, and with a splash of extra sexiness and fun injected into Fosse’s classic choreo courtesy of Ann Reinking and Gary Chryst, it’s quite possibly the best that Chicago has looked, moved and sounded in its several decades of existence. The show’s iconic tiered, minimalist staging, very much evocative of the cabaret joints of the era, remains distinctive and effective in its simplicity. Tour director Tânia Nardini makes great use of it, not least of all with resident MD Neil MacDonald a show-stopping tenant – leading a truly impressive ten-strong orchestra on-stage, who prove to be a star attraction in and of themselves.

Before, about and even between them, a seriously impressive company strut, split and sidle their way through this exciting, sultry revisit. They are excellent across the board, though particular plaudits must go to Annabelle Lang, Victoria Anderson, Ria Tanaka, Lucy-Anne Stacey and Bethany Adamson who, in addition to being on multi-role ensemble duty, help solidify ‘The Cell Block Tango’ as one of musical theatre’s great numbers. Similarly, whilst Josh Crowther makes for a physically imposing and dashing Fred Casely, it’s actually in his later quirkier, caricature beats where he really impresses with some terrific physical comedy and character work.

Of its leads, for what is the first time in over fifteen years of watching and reviewing this show, the Birmingham lineup at least doesn’t falter. There’s not a weak link to be found. Djalenga Scott triumphantly returns to the role of Velma Kelly, singing and sassing up a veritable storm as the feisty ‘OG’ merry murderess. Scott is perfectly cast in the role, which can also be said of the aforementioned Dan Burton, whose musical theatre credentials means we finally can enjoy a Billy Flynn who doesn’t crumble under the disappointment of stunt casting. Burton is suave, commanding and debonair as the morally dubious Flynn and, as is to be expected from the Olivier nominee, can sing and dance up a treat. Joshua Lloyd proves an endearing and boyish Amos, whilst Brenda Edwards truly goes to town riffing, growling and playing with her opening standard ‘When You’re Good To Mama’, delivering one of, if not the best version of the track to date.

“Manrara brings an excitable physicality to the role that is utterly infectious… and yes, her dance skills are put to terrific use.”

Many eyes will doubtless be on Strictly Come Dancing pro Janette Manrara to see whether she has the chops to take on the deceptively demanding role of Roxie Hart. Thankfully, she does not disappoint. Like much of the show, Roxie on stage is a far more manic, goofier and even brattish creation than on screen, and Manrara brings an excitable physicality to the role that is utterly infectious. Whilst she doesn’t quite deliver up the same belts and booming vocals of, say, Scott or Edwards, she infuses so much vitality and nervous, hyperactive electricity into her Roxie that you can’t take your eyes off of this delicious interpretation of the character. And yes, her dance skills are put to terrific use, perhaps most notably in the puppetry hijinks of ‘We Both Reached For The Gun’ and the comic freewheeling of ‘Me and My Baby’.

If this current touring production is indeed a changing, evolving beast with a variable lineup at practically every stop of the way, then, as mentioned, you may need to adjust your mileage accordingly. Chicago lives and breathes on its casting, and you only need to glance at previous reviews by this very outlet to know that some of the alternate casting choices are something of a mixed bag.

But Birmingham is certainly getting to witness Chicago at its sexiest and best; a sizzling, relentlessly entertaining spectacle of Vaudevillian delights and iconic numbers, directed and choreographed to absolute perfection, and high-kicked and jazz-handed to the stage by a cast and company so good you’d almost think it should be illegal.

Come on babe, why don’t you paint the town, and see what all the Fosse’s about.