“Killer Good” (Der Standard, 26 October 2026)

“Christof Hetzer has created a staircase for the show, set against concave concrete walls with a lichen-like finish. Alex Brok’s magical lighting and atmospheric fog effects, combined with a stage that keeps turning, bring sensuality and variety to the visual spectacle.” (Der Standard, 26 October 2026)

“With a production like this, Broadway had better watch out.” (APA, 25 October 2026)

“Arielle Smith’s choreography and the ensemble’s performances are as dynamic as they are cheeky, as funny as they are acrobatic – perfectly timed and ideally suited to the musical’s physically charged vaudeville style.” (Kurier, 27 October 2026)

“Lotte de Beer has turned this new production of the musical classic into a total work of art.” (Der Standard, 26 October 2026)

“Bettina Mönch is a particular standout as Roxie Hart, who has just shot her lover and ended up in prison. Rarely is the role played with such a mix of brash attitude, raw edge and physical agility – all while maintaining impeccable vocal control.” (APA, 25 October 2026)

“Mönch and Monteiro are simply sensational, turning Währinger Gürtel into Vienna’s very own Broadway, if only for a moment. Katia Ledoux (…) has successfully made the leap from classical mezzo-soprano to musical theatre: as the corrupt prison matron Mama Morton, she is powerful yet velvety-smooth.” (Der Standard, 26 October 2026)

“Lotte de Beer has directed Chicago with intelligence and a real sense of fun. (…) What stays with you? Outstanding leading ladies, performances so physical you can feel the energy all the way to the back row – nobody holds back! The unforgettable tunes, of course. And a visually striking production that uses no colour, yet brings every facet of Chicago vividly to life.” (Die Presse, 27 October 2026)

“Under the baton of Mayaan Franco, the Volksoper Orchestra plays jazz with such swagger, punch, colour, wit and sheer joy that you’d think it had been doing nothing else for the past hundred years.” (Der Standard, 26 October 2026)

“Bettina Mönch is a tour de force, vocally and physically, as Roxie. Her ability to combine both with razor-sharp acting is particularly evident in the courtroom scene, where she becomes a self-assured ventriloquist’s dummy controlled by lawyer Flynn. Myrthes Monteiro is her equal as Velma, a formidable rival who combines power with a wicked sense of humour. Lionel von Lawrence is a delight to watch and listen to as Flynn. Katia Ledoux is perfectly cast as the corrupt prison matron ‘Mama’, giving the role extra punch with a soulful, gritty edge to her voice. Jakob Semotan is deeply moving as the invisible Mr Cellophane, while Ursula Pfitzner brings a wonderfully satirical operatic flair to her role as the gossip columnist.” (Kurier, 27 October 2026)

“Yet all of them are utterly outshone by Katia Ledoux as Mama Morton, whose powerhouse voice and commanding stage presence leave the competition in the dust. The dancers, chorus and extras throw themselves into the musical spectacle with infectious energy. (…) Little wonder, then, that their enthusiasm spills over into an audience all too ready to erupt in cheers.” (Kronen Zeitung, 27 October 2026)