Chicago Teen Edition

PADOS Youth’s production of Chicago: Teen Edition was a confident, stylish, and impressively mature interpretation of one of musical theatre’s most iconic shows. Chicago is a musical that demands precision, attitude, and a strong sense of ensemble identity, and this young company rose to the challenge with remarkable commitment. From the moment the audience entered the auditorium, it was clear that this was a production shaped by thoughtful artistic choices and a cast ready to deliver.

The open set design immediately made an impact. With its stripped‑back, industrial feel, the stage created a sense of anticipation and allowed the performers to become the central visual focus. The minimalism encouraged the audience to question what they were about to witness, mirroring the show’s themes of spectacle, manipulation, and performance. The open space also gave the cast freedom to move, dance, and transform the stage with ease, proving to be a highly effective foundation for the production.

The creative team deserves significant praise for capturing the tone of Chicago so accurately. Director Helen Wilkinson ensured that the storytelling remained clear and engaging, balancing the show’s dark humour with its underlying emotional truth. Her direction demonstrated a strong understanding of the material, guiding the young performers to inhabit their characters with confidence and consistency. Helen’s staging choices were purposeful and well‑considered, making excellent use of the open set and ensuring that every performer had moments to shine.

Musical Director Sarah Osmond delivered outstanding vocal work with the cast. Chicago is notoriously challenging vocally, with its jazz‑infused score demanding rhythmic precision, stylistic awareness, and strong ensemble cohesion. Sarah ensured that the cast delivered crisp diction, tight harmonies, and confident solo performances. The vocal work was particularly impressive given the complexity of the score; the cast handled syncopation, layered harmonies, and sustained belt lines with maturity and control. Numbers such as “All That Jazz,” “Cell Block Tango,” and “Razzle Dazzle” were delivered with clarity and energy, demonstrating the cast’s strong musical discipline.

Choreographer Suzi Clearly faced one of the most demanding tasks of the production: honouring the essence of Bob Fosse’s iconic style while adapting it for a youth cast. Fosse technique is famously intricate, requiring isolation, precision, and a deep understanding of stylistic nuance. Clearly rose to the challenge with flair. Her choreography was clean, characterful, and well‑rehearsed, capturing the slinky, angular vocabulary that defines Chicago. She ensured that the movement was age‑appropriate while still maintaining the show’s stylistic integrity, and the cast executed the choreography with commitment and energy. Numbers such as “All That Jazz,” “Cell Block Tango,” and “We Both Reached for the Gun” showcased the ensemble’s ability to handle complex movement with confidence.

The opening number, “All That Jazz,” set the tone for the entire production. This number must ooze confidence, attitude, and style, and PADOS Youth delivered exactly that. The ensemble entered with purpose, and the energy was electric from the first note. What is crucial in Chicago is consistency of characterisation, and the cast maintained their personas throughout the number with impressive discipline. Their focus, facial expressions, and physicality were strong, drawing the audience immediately into the world of 1920s Chicago.

Ashleigh Smith, as Velma Kelly, was a commanding presence from the outset. Her performance in “All That Jazz” was sustained, powerful, and full of character. Ashleigh captured Velma’s sharp wit, confidence, and underlying vulnerability with nuance. Her vocals were strong and controlled, and she navigated the demanding choreography with ease. Velma is a role that requires charisma and precision, and Ashleigh delivered both in abundance.

Another standout performance came from Sylvie Knightley as Roxie Hart. Sylvie brought a captivating blend of innocence, ambition, and cunning to the role. Her characterisation was detailed and consistent, and she demonstrated excellent comedic timing. Sylvie’s vocals were clear and expressive, and she handled Roxie’s musical numbers with confidence. Her performance of “Roxie” was particularly engaging, capturing the character’s self‑absorption and theatrical flair beautifully. She also delivered a compelling performance in “We Both Reached for the Gun,” maintaining strong character focus while navigating the intricate staging and vocal demands of the number.

One of the most anticipated numbers in Chicago is “Cell Block Tango,” and PADOS Youth delivered a version that was both creative and powerful. Rather than replicating the original, the production embraced its own interpretation, which allowed the performers to shine individually and as a collective. The staging was clever and complementary, giving each “murderess” space to tell her story without overcrowding the stage. Maizie Stanbank, Isabella Shafai, Cleo Avanessian, Lucy Jones, Victoria Phelan, and Ashleigh Smith were all exceptional in this number. Their characterisation was sharp, their timing impeccable, and their delivery full of attitude. Each performer brought something unique to their vignette, and the ensemble work was tight and engaging.

Rebecca Lyons, as Matron “Mama” Morton, delivered a confident and charismatic performance. Her presence on stage was commanding, and she captured Mama’s blend of authority and charm with ease. Her musical number, “When You’re Good to Mama,” was delivered with style and confidence, showcasing strong vocals and excellent character work. Cavan Jefferson, as Billy Flynn, tackled one of the most iconic roles in musical theatre with impressive maturity. Billy Flynn requires charm, smoothness, and a certain effortless confidence, and Cavan delivered all three. His performance of “All I Care About” was polished and controlled, and he demonstrated excellent vocal ability throughout. His body language, stance, and period‑appropriate mannerisms were well‑observed, and he brought a calm, charismatic presence to the stage.

Ben Bardsley gave a heartfelt and memorable performance as Amos Hart. Amos is a character who requires subtlety and emotional depth, and Ben captured this beautifully. His portrayal was sincere and endearing, and he had the audience fully invested in Amos’s quiet heartbreak. His performance of “Mister Cellophane” was touching and well‑delivered, earning genuine empathy from the audience.

The lighting design by MSL enhanced the production beautifully. The lighting was sharp, atmospheric, and perfectly aligned with the show’s stylistic demands. It highlighted key moments, supported the choreography, and added depth to the open set. The use of shadows, spotlights, and colour was particularly effective in numbers like “Cell Block Tango” and “Razzle Dazzle.”

The entire cast deserves immense credit for their work. Chicago: Teen Edition is not an easy musical, its themes, style, and technical demands require maturity, discipline, and focus. PADOS Youth delivered a production that was polished, engaging, and full of personality. Their stagecraft was excellent, with smooth transitions, clear entrances and exits, and confident use of the space.

This was a fantastic piece of youth theatre. Well done PADOS Youth, you should be incredibly proud of what you achieved.

© NODA CIO. All rights reserved.