Chicago Teen Edition

Taking on the musical Chicago is no small task for any group. It demands precise Fosse-style choreography, the music is tricky, and the characters are complex. BMYP, as ever, rose to the challenge with expertise and flair.

The staging featured a static Art Deco inspired set, in keeping with the Musical’s era. A raised platform running across the back of the stage, was accessed via two staircases which allowed for an additional upstage centre entrance. Scene changes were effectively suggested through set dressings and furniture, the cell-block tango bars were particularly memorable. All were moved smoothly and efficiently by the cast, allowing swift transitions between scenes.

The Lighting was well-designed for good coverage over what is a large performing space with some excellent uses of colour from both above and the side that on the whole matched the costumes. This worked particularly well in ‘All I Care About Is Love’.  The Red wash in the Cell Block Tango worked really well, other than it did mean that the clever red glove effect didn’t really have the full impact it could have had. The follow-spot was well-used and was noticeably well-controlled - very well done on what can be a thankless task. I don’t know if some of the smaller scenes could have been lit more locally to increase the intimacy with the character/s performing - Mr Cellophane being an example. Overall, some lovely work here and some excellent cueing.

Sound was generally well cued, though the balance between the principals and the ensemble was at times inconsistent, occasionally too loud and then too quiet, Sound effects, where used worked well.

The costumes and make up were quite excellent throughout, in keeping with the era. This applied equally to all of the cast, from the principals down to the featured dancers and the coloured suits for the men.

The music accompaniment was via backing tracks, and was generally managed well, apart from the previously mentioned imbalance between Principals and ensemble. Ensemble singing, largely in unison, was good. Backing tracks have their challenges in being so rigid, but all the cast managed this well with what is some very challenging music, with the video link to the conductor being well-used.   I realise that Teen and Junior versions of shows are generally adapted to better suit young voices, and I believe for this production there are further key transposition options available. I am unsure if any further changes were made in this instance, but at times the pitch seemed a bit clunky, with rapid switches between octaves/registers, which didn’t always work well for me.

In Reviewing the Principal Characters:

Velma Kelly: A strong confident performance with some lovely vocals and strong character choices. I maybe would have liked a little more of a contrast when she realised she was no longer “Top Dog” with a slightly more vulnerable quality coming through, but a great performance.

Roxie Hart: I enjoyed this interpretation, some lovely vocals, dancing and acting. There are some moments when maybe you could have showed more of her fear, when first arriving in Prison or when Hunyak is hung etc. A great performance, Well done.

Amos Hart: an endearing performance. I really enjoyed “Mr Cellophane” I’ve noticed so much growth in your performance and vocals this year, and you truly conveyed the emotion of the song, allowing the audience to feel the sympathy required. 

Billy Flynn: A classy and controlled performance. You had a good grasp of this actually quite unpleasant character and played to your performing strengths.

Mamma Morton: An excellent performance. I know I have mentioned your strong vocals in previous shows, but your voice was so suited to this character, and you managed to show the necessary authoritative quality needed.

Mona, Liz, June, Hunyak, Annie: All strong performances, some great dancing “Cell Block Tango” a highlight for me. Hunyak your accent was fabulous, well done.

Mary Sunshine: A sugary sweet interpretation which suited the character, some nice singing.

Fred Casely: A small but important role, suitably unpleasant. I particularly liked the “dead” position you chose and that when it switched to the other side in the court room it was identical just opposite way round, a nice touch.

The Ensemble: As ever with this group the Choreography is a real feature, very slick and well-rehearsed and applicable to everyone on stage. You had a good grasp of the “Fosse” style Choreography, if I’m being picky, maybe you could have got some of the Fosse trademark moves slightly more crisp. You all worked so well as a team, to produce a great performance.

Well done to everyone involved on another great performance. BMYP continues to set the benchmark for youth performance in the area, and you set your own bar extremely high. If this report comes across as a little picky at times, it’s only because it’s intended to encourage you to keep pushing toward even greater heights as a company that develops what feels like a continual supply of brilliant youth performing talent.

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