Chicago is a perennial hit in Korea. Even logging on right at onsale, I could only snag a side/balcony seat.

The staging follows the 1996 Broadway concert-style revival. From the third-floor balcony it looked even more minimal—but the acoustics were excellent where I sat.

The cast delivered. Jeong Sun-ah’s Velma nailed the choreography and sang with just the right jazz weight and “stick.” Ivy’s Roxie was perfect: ditzy on the surface, sharp and calculating underneath, with an innocent, likable sound. Choi Jae-rim’s Billy Flynn felt tailor-made for him—cool, clipped, money-first demeanor, and the singing to match. In “We Both Reached for the Gun,” his ventriloquist bit was spotless; through opera glasses I saw virtually no lip movement.

Mary Sunshine’s diction was a little hard to catch, but the singing itself was strong.
With a punchy “Cell Block Tango” and a tight finale, the night was fully satisfying. The score is familiar and crowd-pleasing, and with leads singing this well, I expect the show to keep drawing audiences.

For context: I saw Chicago from mid–Row A on Broadway, and this time from a third-floor balcony. The difference I felt wasn’t about production quality so much as vantage point. If I’m satisfied from that height, it’s a good sign the show will be even better up close. Seen closer—Jeong Sun-ah a shade fiercer, Ivy even ditzier, and Choi Jae-rim a touch slyer—this staging could really soar.