Roxy Rocks Albuquerque
On November 13, I had the honor of attending Chicago the Musical at Popejoy Hall, and from the moment the orchestra struck its first note, I knew the night was going to be unforgettable.
I wasn’t entirely sure what the show’s tone or style would be going in, but the instant Velma Kelly emerged under those spotlights, the whole room seemed to snap awake. Claire Marshall, who played Velma, was magnetic; you wouldn’t know this tour is her debut in the role! She commanded the stage with effortless precision, powerful vocals, sharp humor, and yes—legs for days. She set the bar high from the start.
But Ellie Roddy as Roxy Hart? She didn’t just meet that bar; she vaulted over it, flipped in the air, landed center-stage, and winked at the audience while doing it, literally! Roxy rocks Chicago, and last night Roxy absolutely rocked Albuquerque. Her performance was a wild, electric mix of charm, grit, and perfectly timed comedy. She carried herself with that intoxicating blend of innocence and ambition the role demands without missing a beat. Roxy Hart may be a fictional murderer looking for celebrity, but Ellie Roddy made her feel real, complicated, hilarious, and dangerously charming. She made Roxy unforgettable.
And then there was Marc Christopher as Amos. I genuinely wasn’t ready to be devastated by “Mr. Cellophane.” He played the role with such gentleness and vulnerability that you could feel the whole audience leaning forward, wanting to give the man a hug. When he sang, you could hear people quietly singing along around the hall.
The cast across the board delivered hit after hit. Tim Connolly as Fred Casely and Michael Mottram as Sergeant Fogarty nailed their roles, and Elena “Illy” Kirven as Mama Morton absolutely brought down the house with “When You’re Good to Mama.” She owned that stage with a voice that filled the entire hall and a presence so confident I felt I must obey her every word.
What shocked me most was how quickly the show plunges into its themes.
Murder, greed, corruption, adultery, violence, exploitation—it’s all there from the very first “pop pop pop!” when Roxy kills her lover. I didn’t know the story would be told so directly, with little breaks where the cast addresses the audience and sets up the next scene, but I loved it. It’s theatrical in the best way. The humor hits hard, the satire hits harder, and when the press abandons Roxy’s courtroom victory the second they hear a gunshot offstage, the whole theater burst into laughter. It’s funny—until you realize how often that happens in real life. That’s the brilliance of Chicago.
The production knows exactly what it is and doesn’t shy away from anything.
I want to give enormous credit to the orchestra, led by Eric Walker. They were extraordinary. Chicago lives or dies on its music, and this orchestra carried the show with style, swagger, and precision. The brass, the percussion, the piano—all of it blended into that unmistakable 1920s jazz sound. The orchestra is always important, but in some shows its easy to think of them in the background. In Chicago they were literally on stage and interacting with the actors. It was amazing!
The set design at first seemed simple, even a little stark, but once the lighting came into play I realized how intentional and brilliant it actually was. The lighting transported us through scenes with color, shadow, and focus. Deep reds, sharp golds, cool blues—it shaped every mood. It even changed how the costumes appeared, making scandalous lace shimmer and sharp tuxedo lines slice through darkness. The costuming as a whole was stunning: sexy, elegant, deliberate, and perfectly tailored to the world of Chicago. Everyone on that stage looked good, and the style amplified the show’s energy—dangerous, seductive, playful, and bold.
Popejoy Hall is doing something special for New Mexico.
Living in rural New Mexico, we don’t always get access to the arts on this scale. Touring Broadway productions bring world-class performers to local audiences who would never otherwise see them. And that matters.
Popejoy’s mission — bringing the performing arts to all New Mexicans — is not just admirable. It’s essential.
Programs like Broadway Bridges and Broadway for Teens make this possible. In fact, more than 60 students from Grants High School will get to see MJ: The Musical next month because of this program. That’s life-changing exposure for rural kids.
These productions require actors, musicians, set designers, costumers, lighting technicians, makeup artists — entire teams of people whose work deserves support. Season tickets, donations, sponsorships — all of it helps keep these shows coming to our state.
If anyone wants to support Popejoy, reach out to 505-290-0905.
I had the privilege of bringing my sister to this show. Chicago is her favorite musical — the clothing, the music, everything. Watching her absolutely light up during the performance made the night even more unforgettable.
Roxy always wanted to see her name in the papers.
Well, Ellie Roddy — tonight, your name is in ours!
Brava, Chicago, brava!