Chicago Teen Edition

Chicago: Teen Edition is a bold and challenging musical for any youth company to tackle. With its sharp satire, vaudeville‑inspired structure, and iconic Fosse‑style choreography, it demands precision, confidence, and a strong sense of character from its performers. The story follows Roxie Hart and Velma Kelly two women who find themselves at the centre of a media circus after committing murder, navigating fame, manipulation, and the blurred lines between truth and spectacle. It’s a show that relies heavily on style, attitude, and timing, and this production certainly had moments where those elements came together effectively.

There were some wonderful moments within the musical when the cast really connected with the material and allowed the dark humour of Chicago to shine. These moments tended to appear in the larger ensemble numbers or in scenes where the leads were fully grounded in their characters. When the performers leaned into the show’s theatricality its wink to the audience, its exaggerated showbiz flair the production felt lively and engaging.

However, there were times where the backing tracks overwhelmed the dialogue and vocals on stage. This occasionally made it difficult to catch important lines or fully appreciate the singers’ performances. Because Chicago relies so much on lyrical clarity and storytelling through song, this imbalance sometimes disrupted the flow of the narrative. It’s a technical challenge many youth productions face, but it did affect the overall cohesion of the show.

The famous “All That Jazz” was one of the stronger musical moments of the evening. The young performers executed it with confidence and some genuinely impressive vocals. The number had the sultry, smoky atmosphere it needed, and the cast handled the iconic style with maturity. The harmonies were well‑blended, and the lead vocals carried the number with assurance. It was clear that a lot of rehearsal had gone into capturing the essence of such a well‑known opening.

I do have to say that Freya Gow’s vocals were consistently on point, and she had Velma Kelly’s characterisation spot‑on. Velma is a demanding role sharp, cynical, and charismatic and Freya managed to balance all of these qualities with ease. She understood Velma’s dry humour and commanding presence, and her vocal delivery reflected that confidence. Freya’s vocals in her solo numbers were particularly strong, showing control, clarity, and a real understanding of the musical style. She was one of the standout performers of the evening. Tabitha Valentine, playing Roxie Hart, brought some great comedic timing and expressive physicality to the role. Roxie is a character who thrives on attention, and Tabitha captured that self‑absorbed charm well. Her facial expressions, gestures, and interactions with other characters helped bring Roxie’s chaotic personality to life. With a bit more vocal projection and confidence in some of the trickier musical moments, she has the potential to be a truly compelling Roxie.

Thomas Birch played Amos Hart with a gentle sincerity that suited the character perfectly. Amos is often the emotional anchor of the show the overlooked, soft‑spoken husband and Thomas portrayed him with warmth and vulnerability. His scenes had a quiet charm, and he handled the comedic elements with subtlety rather than exaggeration. His performance added a nice contrast to the louder, more flamboyant characters around him. Elise Brown‑Kufour brought strength and presence to the role of Mama Morton. She delivered her lines with authority and had some great moments of interaction with the ensemble. Mama Morton requires a performer who can command the stage, and Elise stepped into that role with confidence. Her vocal delivery had some power, and she clearly enjoyed playing the character’s sly, transactional nature.

Marcus Florin was great at playing Billy Flynn, capturing the slick, polished charm of Chicago’s most manipulative lawyer. Billy is a showman, and Marcus leaned into that quality with confidence. His stage presence was strong, and he handled the character’s swagger with ease. Isobel Kendal, as Mary Sunshine, brought a lovely brightness to the role. She handled the character’s exaggerated optimism with charm and delivered her scenes with enthusiasm. Her vocal work was clear, and she added a nice touch of humour to the courtroom sequences. Joshua Frodsham, playing Fred Casely, made the most of his stage time. He brought energy and character to the role, and his interactions with Roxie were well‑played. Fred is a small but memorable part, and Joshua ensured he left an impression.

I must say that some of the setting and staging choices were effective, helping to create the atmosphere of a 1920s cabaret. However, the transitions between scenes were sometimes not quite seamless and occasionally broke the momentum. Smooth transitions are especially important in Chicago, where the show relies on rhythm and flow, so these moments of hesitation or delay were noticeable. The ensemble was able to support the leads effectively, especially in the larger musical numbers. They brought energy and commitment to the choreography and helped create the bustling, theatrical world of the show. Their group vocals were good, and they handled the stylistic demands of the musical with enthusiasm. That said, I did feel that some of the choreography could have been polished more. There were moments where phrasing and lines were not finished as cleanly as they could have been, such as in the ensemble sections of “Cell Block Tango” and parts of “Razzle Dazzle.” Fosse‑style choreography relies heavily on precision sharp angles, clear shapes, and intentional movement and at times the cast seemed slightly unsure or out of sync. With more rehearsal focused on unison and detail, these numbers could have had a much stronger impact.

Overall, this production of Chicago: Teen Edition had some strong individual performances and several memorable moments. While there were areas that could have been more polished particularly transitions, choreography, and sound balance the cast showed commitment, enthusiasm, and a clear understanding of the show’s style. The leads, especially Freya Gow, delivered standout performances that elevated the production. With continued growth and attention to detail, this company has the potential to deliver even more confident and cohesive work in the future.

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