Arabized version of iconic musical ‘Chicago’ to open in Beirut 

The Arabized version was written by Roy El-Khouri (center) and Lebanese actor Fouad Yammine, with Anthony Khoury (the frontman of popular Lebanese indie-pop outfit Adonis) writing the lyrics for the songs.  (Supplied)
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Updated 05 May 2023
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Arabized version of iconic musical ‘Chicago’ to open in Beirut 

  • ‘The political and social criticism made it easier to adapt the script to the Lebanese situation,’ says director Roy El-Khouri 

BEIRUT: The first Arabic version of the famous musical “Chicago” opens this weekend in Beirut at the Salle des Ambassadeurs at the Casino du Liban, with performances on May 5, 6, and 8. 

“Chicago” was written in 1975 by Fred Ebb and Bob Fosse. It is based on a 1926 play in which journalist Maurine Dallas Watkins fictionalized real-life crimes and their perpetrators, drawing from her reporting in the titular US city during the decadent 1920s.  

 

Since its opening, the musical — a black comedy that satirizes corruption in the US justice system and the rise of the “celebrity criminal” — has been translated into 45 languages (and the 2002 film adaptation won six Oscars). But this is the first Arabic version. It is the result of writer, choreographer, director, and actor Roy El-Khouri’s passion for the show. The Arabized version was written by El-Khouri and Lebanese actor Fouad Yammine, with Anthony Khoury (the frontman of popular Lebanese indie-pop outfit Adonis) writing the lyrics for the songs. 

El-Khouri told Arab News: “In order to obtain a license to show ‘Chicago’ in Lebanon, we had to abide by the text. We are bound by the story and songs — it is impossible to add or remove characters or change roles. We are even obligated to use specific costumes. But we have adapted the text to suit the Lebanese context, knowing that the show deals with vices that exist in all societies across the world.” 




Mirva Kadi (center) in rehearsals for 'Chicago.' (Supplied) 

He continued: “The political and social criticism included in the original text of the play, in lyrical and satirical forms, made it easier to adapt the script to the Lebanese situation. The play resembles our reality — as we also suffer from corruption, media collusion, and other vices that the play highlights. Adapting this work posed a great challenge for us, whether at the level of directing, acting, or dancing. It must be noted that the production house in the US reviewed the Arabized text before we got the final approval. They were very excited to sign with us.” 

El-Khouri studied musical theater in New York and returned to Beirut in 2014. He has written and directed several plays and musicals, most famously 2018’s “Majnoun Leila,” which was a huge hit in his homeland. 




L-R: Cynthya Karam, Roy El-Khouri and Fouad Yammine in rehearsals for 'Chicago.' (Supplied) 

“Chicago” is the story of a city of contradictions, corruption, and hypocrisy, told through the eyes of two women — Roxie Hart, accused of killing her lover, and Velma Kelly, a cabaret singer accused of killing killed her husband and her sister. Both young women are sent to the Cook County Jail to await trial. And both dream of becoming celebrities. 

Mirva Kadi plays the role of Velma (Selma Fehmi in the Arabic version), while Cynthya Karam plays Roxie (Nancy Nar in the Arabic version). El-Khouri plays lawyer Billy Flynn (Wael Horr); Yammine plays Roxie’s husband Amos Hart (Amin Narr), and Youmna Bou Hadir plays the role of Mama Morton (Mama Dunia), the corrupt matron of the women’s jail. Singer Matteo El-Khodr, a dance troupe, and live orchestra also participate in the 90-minute show. 

“It includes dancers, 14 musicians, and 10 actors,” El-Khouri said. “The dancers are graduates from my dance institute who are now dance teachers.” 




The dancers lift Mirva Kadi during rehearsals for 'Chicago.' (Supplied) 

According to El-Khouri, tickets for the performances on May 5 and 6 sold out “immediately,” so the third performance on May 8 was added.  

“People have been missing the theater since the pandemic hit and they’re excited about watching musicals,” he added. 

“Part of the audience includes the US producers and agents of producers from Arab countries who will come to watch the musical in Lebanon in the hopes of taking it to their countries,” he continued. “We’ve already received many offers in this regard, and we can adapt the work to every Arab country in which ‘Chicago’ may be shown.” 


Review: ‘Relay’

Updated 21 December 2025
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Review: ‘Relay’

RIYADH: “Relay” is a thriller that knows what its role is in an era of overly explained plots and predictable pacing, making it feel at once refreshing and strangely nostalgic. 

I went into the 2025 film with genuine curiosity after listening to Academy Award-winning British actor Riz Ahmed talk about it on Podcrushed, a podcast by “You” star Penn Badgley. Within the first half hour I was already texting my friends to add it to their watchlists.

There is something confident and restrained about “Relay” that pulls you in, and much of that assurance comes from the film’s lead actors. Ahmed gives a measured, deeply controlled performance as Ash, a man who operates in the shadows with precision and discipline. He excels at disappearing, slipping between identities, and staying one step ahead, yet the story is careful not to mythologize him as untouchable. 

Every pause, glance, and decision carries weight, making Ash feel intelligent and capable. It is one of those roles where presence does most of the work.

Lily James brings a vital counterbalance as Sarah, a woman caught at a moral and emotional crossroads, who is both vulnerable and resilient. The slow-burn connection between her and Ash is shaped by shared isolation and his growing desire to protect her.

The premise is deceptively simple. Ash acts as a middleman for people entangled in corporate crimes, using a relay system to communicate and extract them safely. 

The film’s most inventive choice is its use of the Telecommunications Relay Service — used by people who are deaf and hard of hearing to communicate over the phone — as a central plot device, thoughtfully integrating a vital accessibility tool into the heart of the story. 

As conversations between Ash and Sarah unfold through the relay system, the film builds a unique sense of intimacy and suspense, using its structure to shape tension in a way that feels cleverly crafted.

“Relay” plays like a retro crime thriller, echoing classic spy films in its mood and pacing while grounding itself in contemporary anxieties. 

Beneath the mechanics and thrills of the plot, it is about loneliness, the longing to be seen, and the murky ethics of survival in systems designed to crush individuals. 

If you are a life-long fan of thrillers, “Relay” might still manage to surprise you.