As an NSTA representative, I had the distinct pleasure of attending the school production of Chicago: Teen Edition on Wednesday 25th March 2026. Under the expert guidance of director Chloe Shaw, musical director Mrs Hudson, and choreographer Miss Davies, the company delivered a performance brimming with the ‘razzle dazzle’ and stylistic grit essential to this iconic spectacle, effectively capturing the show’s unique blend of cynicism and allure.
Chicago: Teen Edition follows the story of Roxie Hart and Velma Kelly, two ambitious performers caught up in scandal, celebrity, and showmanship as they navigate fame, manipulation, and justice in 1920s Chicago. Through sharp satire, iconic jazz‑infused numbers, and bold characterisation, the musical explores society’s obsession with image and notoriety, all framed through a vaudeville performance style. The original Broadway production opened in June 1975 and was nominated for numerous Tony awards. The ongoing 1996 revival is the longest-running show currently on Broadway and won six Tonys in 1997, including Best Revival of a Musical.
From the moment the audience entered, the atmosphere was set with recorded jazz underscored by rich red lighting and a striking gobo projected onto the ceiling. This immediately immersed the audience in the smoky, showbiz world of 1920s Chicago.
The opening ensemble burst onto the stage with confident energy, clarity of choreography, and a strong collective attitude. The pace was assured and the intent clear; cohesion across the ensemble established trust in the storytelling from the outset, supported by the well‑judged use of props such as fan accessories, which enhanced both choreography and visual impact.
The leading performances anchored the production with skill. Velma Kelly was portrayed by Hetty with commanding confidence. From the first moment, the confident attitude and precise facial expressions, smirks, sneers, and knowing looks established Velma’s authority and magnetism. Power and confidence oozed from her, particularly in the way she addressed the audience directly and looked down her nose at Roxie, striding across the stage with unapologetic dominance. Musical moments shone, especially in “Maybe I Know”, where nuanced eye contact, playful winks, and beautiful harmony demonstrated excellent unison and chemistry. Overall, this was a confident, powerful, and immersive performance with full command of the stage, an excellent standard throughout.
Eva’s Roxie Hart dazzled with expressive physicality, exaggerated comic detail, and a strong connection with the audience. Her solo “Funny Honey” showcased beautiful vocal control, nuanced phrasing, and confident storytelling, balancing powerful vocals with moments of softness and control, showing clear attention to expression and enunciation, particularly effective in detailed choices such as the crisp delivery of “pup.” Roxy’s attitude was unmistakable, with power shining through her eyes and subtle physical choices.
As Billy Flynn, Felix brought suave charisma and sharp comedic timing, effortlessly breaking the fourth wall with knowing glances and ad‑libbed flair, punctuating key moments with precision and humour.
The supporting cast added depth and richness throughout. Evie’s Mama Morton swaggered across the stage with bold characterisation, confident vocals, and exaggerated sass that demanded attention. As Amos, Dylan delivered an endearing and heartfelt portrayal, earning genuine audience sympathy through warmth and sincerity.
The ensemble consistently elevated scenes, particularly as reporters, jurors, dancers, and jazz performers, creating clear visual narratives using split staging, multiple levels, and unified gesture. “All That Jazz” and “Cell Block Tango – He Had It Coming” were particular highlights, showcasing slick timing, powerful dynamics, and assured ensemble precision.
Choreography was slick, stylised, and consistently well executed, with strong synchronisation and striking stage pictures. Numbers such as “He Had It Coming” delivered power, precision, and energy, while “Razzle Dazzle” showcased impressive control and technical ability, particularly from the ballet dancers.
Musical direction was tight and assured, with excellent timing on drumbeats and gunshots, alongside moments of strong vocal and physical unison. This was most notable during the jury sequence, which demonstrated impressive cohesion and clarity.
Lighting was used with real sophistication throughout the production. Purple hues wrapped Eva’s Roxie in warmth and glamour, while a cold green isolated Dylan’s Amos during “Mr Cellophane”, visually reinforcing his emotional invisibility. Smooth lighting transitions, particularly during split scenes and flashbacks, guided the audience seamlessly through time and perspective.
As a teen edition, the production showed a clear understanding of how to adapt complex material while retaining its iconic style. Exaggeration, physical storytelling, and visual symbolism were used effectively to convey mature themes in an engaging and accessible way. Transitions were smooth and purposeful, with stagehands and props, such as telephones during the Roxie and Amos scenes, supporting the narrative without distracting from the action.
This production of Chicago: Teen Edition was a confident, visually striking, and musically secure performance that celebrated character, style, and storytelling. Strong design choices, committed performances, and a cohesive ensemble combined to create an engaging and polished theatrical experience. Bold, stylish, and full of attitude, this production captured the essence of Chicago while showcasing impressive young talent, leaving a lasting impression on its audience.