This is one of my favourite musicals, so no pressure guys... Thankfully I was not let down by this touring production - in fact I was pleasantly surprised!

The musical is set in 1920's Chicago - who'd have guessed it?  It closely follows two murdering vixens, Roxie Hart and Velma Kelly. Both whom desperately crave and fight for the media's attention. They are ushered along by a smooth yet sleazy lawyer who is no stranger to the paparazzi lifestyle; with a name like, Billy Flynn, I'm not surprised.

The first thing that hit me when the curtains opened, was the orchestra placed smack bang in the middle of the set! This is highly unusual as they are normally hidden away in a dark place under the stage - so I was excited to see what a difference this would make. The answer; a great one! I feel the visible band created a sense of inclusion on the audiences part. I honestly felt like I'd gone for a drink in a dodgy yet intriguing jazz club, enjoying the smoky atmosphere with a couple hundred other visitors. The band and the characters were fully aware of our presence, who made sure we followed their crime filled story. The orchestra were far from a hindrance as they became apart of the stage, where choreography and scenes were blended into the tier band stands; definitely utilising all of the available space on set.

So, I inevitably started comparing this stage version to the film version of 'Chicago' starring Renee Zellweger, Catherine Zeta-Jones and Richard Gere. I know, I know. I shouldn't, as they're two completely different mediums, it would be unfair to do such a thing... but I have to at least acknowledge them. There were the obvious cinematography differences and lack of A-Listers but the stage version was a welcome change for these simple reasons:

1) Watching the 'bob fosse' themed choreography live, executed with excruciating precision was incredible.
2) It had a darker, slower paced and sexier feel - much more appropriate to the storyline.
3) Hearing the songs performed live by actors with impressive vocal skills always trumps pre-recorded versions.
4) Being a part of the live, jazz infused, underground bar (secretly a theatre) is not to be missed.

Ali Bastian combined a playful and naive Roxy with the seductive bite of a fierce lady. Perfection. Tupele Dorgu gave a fresh boost to the character of Velma, updating her to the 21st century. I have to give her credit for her high stamina as she powered through her many physically tough numbers and big ballads. Stefan Booth simply melted on stage as he played a smooth and manipulative Billy Flynn. He was quietly commanding which secretly screamed powerful. Finally I give a massive round of applause to the ensemble, as without them, it would not have been anywhere near as impressive. Ensemble you are unbelievably talented - I would class you the stars of Chicago.

This musical is guilty of murder and it is also charged on the account of being too dirty, devious and sexy. A combination not welcomed in reality, but sneaking away for a night of fantasy does no harm... right?

Could you 'literally' get away with murder?

Ok, so you've been warned...

Firstly, you are right to question, why would there be a Panto in January? Surely, you've had enough of all that cheesy Christmas spirit and 'fun' family time'? Hell yes!! But this Panto is a great way to look back at Christmas and... take the absolute piss!!

I thought I'd missed my chance. I heard people gossip that it was his last. I was gutted. My friend went, I was jealous, she rubbed it in, I got more jealous. You know the score.

But then, it was announced; Lee Evans was starting a new, BIGGER and (to my friends annoyance) funnier tour! The excitement I felt was ridiculous. I woke up at 7am, opened up my laptop, sat staring at the screen until BAM, ticket sales were open. It was a race to the death. Ok, exaggeration, race to the best seats.

I was put in a queue, I've never been put in a queue to purchase online tickets before?! It became serious, this really was an Olympic race. I won bronze; assigned fairly good seats. But still, I bounced off the walls, literally.

I waited. I waited for over a year. And finally, there I was, sat in the M.E.N. Arena, sat in a trance, sat waiting for my comedy legend.

He began with an animated film, the evolution of Evans. The anticipation was killing me.

He exploded onto the stage with pace and bounce, whilst lowering his head indicating his adorable humble nature at the thousands worth of cheers and applause. He began with a regularly used line, sort of a catchphrase if you like, 'I'm fu*king shi*tting myself!'. Immediate laughter. That would describe the evening, he spoke - we laughed.

I've seen live comedy before, where stand ups are fighting for that gratitude, that laughter. Lee Evans owned that stage. He was an experienced conductor of the audience; fine tuning giggles whilst combining some crying laughter; thousands of puppets at his every whim. I was practically crawling with pain, gasping for air... bad signs of health but amazing signs of comedy! Dangerous mix...

He maybe isn't as personal as his last tour. That is honestly the only slight, minor, tiny criticism I can conjure up. I loved that his last tour was based on many private moments, especially all of his 'women/wife' jokes which I completely related to. You gained that insight into his life. It was nice. Nice of him to be so open. Ultimately  hilarious.

This tour, Road Runner, is more general, yet still observational comedy which applies to all. Of course, I'd have liked more women p*ss takes but he made up for it with other areas he focused on, like cars! Something else I relate to. See, that's the great thing about Lee Evans, how truthful his comedy is. I love sitting their nodding my head in agreement, gasping, 'that's my mum' or 'Rob, you do that!'. Lovely.

I couldn't quite comprehend how a slight mime, or facial expression would have us in hysterics. But I guess that's part of his magic, his talent. He reminds me of Norman Wisdom. He's a true character performer, who puts his all into creating a scene. He goes to extreme lengths to pleasure an audience, you witness how hard this great man works. The sweat is the first obvious clue. The second is the non stop laughter. That doesn't just happen. He has carefully crafted his jokes, puns, punch lines, physicality and accents into the Road Runner Tour. Perfected every last second. He designs the stage, music and lighting. He's a one man band, orchestra even! That's dedication to his art form.

I wish I could sit here and explain every joke, but it would be much easier for you to buy the DVD and experience it yourself. You need more persuasion? Too vague? OK. If you're a Lee Evans fan, you'll know what I mean when I say he performs one of his hit French Classics. 'Bohemian Rhapsody'. I was honoured to see it live, performed by the man himself. My head switching from Live Lee to Big Screen Lee; my indecisive nature glowing.

This review might seem bias, it probably is. But I find it hard to critique a man who is a natural comedy genius,  who has worked bluddy hard to get where he is today. Standing ovation to the King of Comedy.

Reet, Ima itching for some Evans. DVD and cuppa tea, I'm on my way! I suggest you do the same...