Let me begin by saying Chicago is one of my favourite musicals.

Jazz, murder, strong female leads, courtroom drama and slick, memorable songs - it’s hard to find fault.

Sadly I can’t say the same for the production that opened at Leeds Grand Theatre last night.

Why do touring shows keep slotting soap stars into leading roles in musicals? I understand the celebrity draw sells tickets, but last night the chorus out-performed three of the leads and it jarred.

Don’t get me wrong, I did enjoy the show. Sophie Karmen-Jones sparkled as Velma Kelly, sultry and sassy with a rich, husky voice and commanding presence throughout.

The on-stage band were also an absolute delight, pitch-perfect and playing up to the crowd with real personality.

And hats off to the chorus - Chicago is nothing without slick, sexy choreography and the troupe of endlessly bendy male and female dancers nailed it.

The men dancing with Hayley Tamaddon’s Roxie Hart in ‘Roxie’ were superb, and All That Jazz was pulled off with style, with Carmen-Jones leading the troupe with ease.

Neil Ditt’s Amos was also an excellent performance of the sad clown, resulting in a moving rendition of ‘Mister Cellophane’.

But I have to be brutally honest here - the show was let down by its more famous cast members.

Hayley Tamaddon was the strongest of the trio (which also includes former Eastenders actors John Partridge (Billy Flynn) and Jessie Wallace (Mama Morton)).

While vocally she was excellent, she lost the naivety of Roxie with a sometimes overdone comic performance.

Chicago: Sophie Carmen Jones as Velma Kelly

She could certainly dance - but at times it was all a bit too slapstick.

Jessie Wallace had the pipes for ‘When You’re Good To Mama’, but failed to harness the power of her character.

The fire of Mama Morton just wasn’t there - she almost blended into the background.

Finally, John Partridge’s Billy Flynn, I’m sad to say, jarred.

At times his performance was more creepy uncle than slick city lawyer - and while his high notes were certainly impressive, his vocals just weren’t slick enough to deliver the charisma of his character.

The truth is, against such a talented chorus, the flaws of Tamaddon, Wallace and Partridge were magnified, which was a real shame.

The staging is simple but effective, with a towering stand for the orchestra and the clever use of ladders at the sides of the stage.

It’s a fun production, overall, with all the fun of Bob Fosse’s choreography and a superb orchestra. But the casting missed the mark.

Chicago is at Leeds Grand Theatre until Saturday November 26 at 7.30pm.

Tickets cost £22-£47 - call 0844 848 2700 or visit leedsgrandtheatre.com.