Chicago (Teen Edition)

Set amidst the razzle-dazzle decadence of the 1920s, Chicago tells the scandalous tale of fame, fortune, and justice gone awry. Nightclub singer Velma Kelly and housewife Roxie Hart find themselves locked up in Cook County Jail for murder, both desperate to escape conviction and reclaim the spotlight. With the help of smooth-talking lawyer Billy Flynn, they manipulate the press, the public, and even each other in their quest for stardom. In a world where headlines mean everything, Chicago is a sharp-edged satire on celebrity culture, crime and corruption- proving that crime is just another performance.

Set against an impressive open predominately black set on several levels, the feel for the show was  instantly established with the music and style of the dancing in the opening number with Velma  (Juliette) leading the girls in ‘All That Jazz’. Juliette established her somewhat hard-nosed character with great strength and style, performed well throughout including some great choreographed numbers. In fact, the standard of choreography throughout was a highlight and well delivered. 

Meanwhile we met Roxie Hart who has killed her lover in the marital bed and convinces husband Amos he was a burglar. Roxie was very well played by Lucy, sweet yet foxy, who was a match for Juliette in her characterisation, singing and dancing. The meek but loyal Amos initially takes the blame and as the story develops we witness his kindness and Oscar J fulfilled the role with great sensitivity, culminating in his showstopper, ‘Mr Cellophane’ in Act 2 .

In the County Jail we meet 6 of the inmates who describe what happened to them with an excellent ‘Cell Block Tango’, utilising sections of the prison bars on wheels, effectively used as they each sang. A special mention to Ava S who grabbled with the Hungarian language well.  Head of the jail is Matron Mama Morton (Sophie ) who had a strong voice and wasn’t ashamed of making a buck or two on the side, facilitating access to the best legal profession. That was in the capable hands of Hari as Billy Flynn in a slick suit, perhaps portraying more of a squeaky-clean guy rather than a total sleaze. Hari had a great voice too and despite an alleged care for love in all his cases, was only in it for the money. ‘We both reached for the gun’ was a great number ending on a stupendous held note sang by Flynn.

It was great to see over 10 lads in the company and their number ‘Roxie’, with Roxie, was impressive. Velma realises she is losing out to Roxie and suggests they form a double act after reflecting ‘I can’t do it alone’.  The following ‘My Own Best Friend’ seals their plan and was an excellent conclusion to Act 1.

Highlights continued in Act 2, including ‘When Velma Takes the Stand’ which was excellent and the courtroom scene which was well portrayed. Good support was provided by Issac as Fred Casely and Harry, Lillis as  Mary Sunshine, Rupert as Judge  and Freddie who featured in the ensemble, but all the cast were engaged throughout and well-disciplined when sitting (on) side stage.  Roxie and Velma were acquitted of their crimes and came together as a double act in dazzling style, with ‘Nowadays’ .

Chicago has hitherto been regarded as an adult show and although this was a Teen Edition there was still the opportunity to push the boundaries.  The costumes were predominantly black and totalling in keeping with the production. The lighting was effective and the band and sound were well balanced. This was another excellent production in the capable hands of Director Jack Ludwick and his production team.  

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