Chicago - Teen Edition

My inaugural experience with WADS Youth and my first encounter with an amateur rendition of “Chicago- Teen Edition” left me eagerly anticipating a great evening of entertainment. The evening began on a high note: the front of house team were welcoming, and we were unexpectedly upgraded to a cabaret-style table at the front, complete with a complimentary bottle of prosecco — a delightful start to proceedings.

The stage design struck a stylish and minimalist tone. Dominating the proscenium was a bold red ‘Chicago’ sign aglow with bulbs, while the rest of the set was draped in black, except for a striking art deco centrepiece, backlit in a sultry red. From the outset, it was clear that this production promised something special — and it delivered.

The curtain rose with the iconic “All That Jazz”, a number that immediately showcased the company’s grasp of Fosse-inspired choreography, expertly devised by director and choreographer Charlie-May Wallis. The young cast executed the routines with impressive skill, while the costumes — a parade of 1920s black flapper dresses and glittering accents, thanks to Lucy Evens — plunged the audience straight into the era’s decadent spirit. Leading the charge as Velma, Megan Bungard delivered a mature and captivating performance, quickly establishing herself as one of the evening’s standouts.

The narrative unfolded at pace, with the ensemble stepping confidently into the limelight as narrators. The audience was introduced to Roxie Hart, portrayed by Phoebe-Marie Wallis, and soon swept into the infamous “Cell Block Tango”. Clever use of moveable cell doors allowed the cell block ladies to deliver a slick, tightly choreographed spectacle. Katalin Hunyak (Courtney West) stood out for her magnetic stage presence, engaging the audience throughout. The remaining cell girls — Pop (Antonia Mason), Six (Daisy Copping), Squish (Emily Custins), and Lipschitz (Tiffany Fuggle) — were all impressively strong, throwing themselves into the demanding dance numbers with unwavering energy.

Once in jail, the audience was treated to the commanding presence of Mamma Morton(Dani Wallis), who truly owned the stage during “When You’re Good to Mama”. Billy Flinn (Toby Calvo) brought charisma and verve, cleverly incorporating his tap-dancing talent. Toby’s portrayal of the slippery lawyer was convincing, particularly in the scenes of intrigue between Roxie and Amos (Joshua Nwaha-Walmsley). Amos, the anxious, simple-hearted husband, was credibly portrayed, and his rendition of “Mr Cellophane” drew genuine sympathy from the audience, despite the occasional line being a touch quiet.

The star of the evening was undoubtedly Roxie Hart. At just 14, Phoebe-Marie Wallis is a remarkable talent: she maintained character with poise, delivered vocals that out did her years, and connected with the audience through every note and gesture.

This was a show I would gladly watch again — especially the highlight of Act II, “Razzle Dazzle ‘em”, which dazzled with a swirl of red and black sequined costumes and sharply drilled choreography. The synergy of set, movement, vocals, and characterisation was outstanding. I remarked to the production team afterwards that I’d have considered such a standard exceptional for an adult production; for a youth show, it was nothing short of extraordinary. Bravo to everyone involved. As my final review of 2025, it was a spectacular way to end the year — truly leaving on a high.

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