Chicago, Teen Edition

Chicago is an American musical with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse. Set in Jazz Age Chicago, it skewers the corruption of the criminal justice system with wit, style, and a healthy dose of razzle‑dazzle. This production captured that spirit brilliantly, following felons who twist their stories into celebrity stardom.

Tiffany Pettit (Velma Kelly) and Millie‑Mai Morrissey‑Jones (Roxie Hart) delivered compelling, confident performances. Both commanded the stage with strong presence, crisp diction, and impressive vocal control, belting with ease while never sacrificing clarity or pitch. Jydedah Rehoboth (Billy Flynn) was a standout in every scene—vocally flawless, charismatic, and utterly in command. Kaycey Holland (Amos Hart) brought warmth and humour to her role, offering a charming and heartfelt “Mr. Cellophane.” Shelidia Meade (Matron “Mama” Morton) gave a confident performance and an engaging rendition of “When You’re Good to Mama.”

The supporting cast and ensemble elevated every moment they were part of. Each performer had a clear purpose onstage—no one ever drifted or distracted—and their singing and movement were consistently sharp. Even when seated on the catwalk, they maintained stillness and focus, ensuring attention stayed where it needed to be.

The band, assembled by Miss Reading, was tight, balanced, and wonderfully supportive. Instrument swaps were seamless, and the music never drowned out the vocals.

Choreography, created by a team of teachers and academy students, complemented the score wonderfully, complete with subtle nods to Fosse’s iconic style.

Mr Henry’s direction kept the show moving at a brisk, engaging pace, with slick transitions and clever use of the catwalk staging that wrapped around the band. This layout created a generous playing space for a large cast and was used to great effect. “Razzle Dazzle” became a genuine showstopper thanks to the clever addition of circus tricks.

Sound quality was strong overall, with only a brief issue from a rogue microphone that was quickly resolved. Lighting was effective, though the extreme edges of the upper staging could have used more coverage, as performers there fell into shadow.

The folding bars on the upper level—shifting from balustrade to prison bars—were a smart and striking touch. Props were generally well used, though notebooks and pencils for the policeman and reporters would have improved authenticity; mimed writing felt a little out of place. Costumes were very good and fitted the period well. Even though the ensemble were usually dressed for the most part in black, against black staging and background, the lighting ensured that they could still be seen.

This was a superb production—slick, stylish, and impressively mature. It’s the kind of show that raises the bar for everything that follows. I often forgot I was watching young performers rather than seasoned adults. It will be a tough act to follow, and I’m excited to see what this talented group creates next.

The cast was mainly girls, and I have a message to the boys in the audience who cheered so enthusiastically: if you enjoyed it, consider being onstage next time. Theatre welcomes everyone, and once you step onstage, the theatre bug will bite, and you’ll be eager for more.

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