As an NSTA representative, I had the pleasure of attending the school production of Chicago at The King’s School, Worcester, on Thursday 4th December 2025. Under the expert direction of Mrs Lauren Slater-Klein, who also served as choreographer alongside Ms Kym Lane, the musical direction of Mr Simon Taranczuk, the clever design by Mr Paul Haynes, and costume design by Ms Caitlin Smith, this school edition demonstrated a high level of professionalism, with every element working cohesively to create a dazzling theatrical experience.
Chicago is a sizzling, satirical musical set in the roaring 1920s, exploring themes of fame, corruption, and crime. The story follows the ambitious Roxie Hart and seasoned showgirl Velma Kelly as they navigate love, betrayal, and the pursuit of notoriety while facing murder trials. Filled with sharp humour, dark satire, and unforgettable musical numbers, the production immerses audiences in a world of vaudeville, courtroom drama, and jazz-age spectacle, cleverly critiquing celebrity obsession and the criminal justice system while remaining highly entertaining and theatrical.
From the moment we entered the venue, the atmosphere was electric with anticipation. The set design began with a projection of downtown Chicago just outside the auditorium, immediately transporting the audience into the gritty yet glamorous world of 1920s America. Mr Paul Haynes’ design made excellent use of stylised prison bars framing the stage, while the use of two levels allowed scenes to shift fluidly between Roxie’s apartment, the courtroom, the nightclub, and the prison. Atmospheric lighting heightened the sense of danger and allure, while Ms Caitlin Smith’s costume design captured the era with stylish modern twists that reinforced character, status, and personality. The prisoners’ striped dresses were particularly inspired, allowing for quick costume changes and serving both Velma’s and Roxie’s scenes efficiently. The inclusion of the live band on stage throughout, positioned behind the bars, added to the immersive theatrical experience.
The opening moments set an exceptionally high standard. As the first notes of ‘All That Jazz’ rang out, the stage came alive with energy, confidence, and precision. Velma Kelly – played by Bella – was mesmerising in this number. The ensemble moved with impressive synchronicity, and the combination of strong vocals, sharp choreography, and assured acting immediately drew the audience into the world of Chicago. Clear collaboration, excellent teamwork, and a strong awareness of the audience were evident from the outset, establishing the fast-paced, jazzy tone that carried throughout the performance.
Bella’s fabulous portrayal of Velma Kelly was the major highlight of this production. She delivered a performance that was both commanding and richly layered, using sardonic expressions, perfectly timed raised eyebrows, and sharp physicality to bring wit and authenticity to the role. Her technically strong and emotionally resonant vocals added depth to Velma’s journey, and the audience was fully gripped by her performance. Her performances in ‘All that Jazz ‘and ‘Cell Block Tango’ stood out as real highlights. Bella’s stage presence was outstanding and her excellent responsiveness to the audience – acknowledged with confidence and impeccable timing – enhanced the theatricality of her performance without breaking character.
Flo’s Roxie Hart was equally compelling, blending vulnerability, ambition, and charm with impressive vocal control and expressive acting. Her ability to convey Roxie’s emotional shifts, from naivety to calculated confidence, was handled with great skill. Flo’s stage presence was commanding, she was vulnerable and flighty, yet strong and dynamic. Her performance in the courtroom exhibited excellent comic timing. The chemistry between Bella and Flo was particularly striking, with their shared scenes crackling with tension and humour. Their duets, including ‘My Own Best Friend’ and ‘Nowadays/Hot Honey Rag’, were among the most memorable moments of the evening, combining excellent timing, vocal precision, and dynamic interaction that elevated the narrative.
Henry’s performance as Billy Flynn was another highlight. He embodied the character’s slick charisma and showman-like confidence with ease, delivering a portrayal that was both entertaining and sharply defined. His vocals were secure and stylistically well suited to the role, allowing him to navigate Billy’s demanding numbers with clarity and flair. His confident stage presence shone in the courtroom scenes, particularly in ‘We Both Reached for the Gun’, where his ventriloquist-style interaction with Roxie enhanced the satire at the heart of the song. In contrast, Sam’s portrayal of Amos Hart was deeply poignant, offering a sincere and touching interpretation of the character’s quiet loyalty and vulnerability. His performance of ‘Mr Cellophane’ was handled with sensitivity and emotional honesty, creating one of the most moving moments of the production.
Supporting roles were handled with equal care. Amelia’s Matron “Mama” Morton provided a powerful and engaging performance. She commanded the stage with confidence, delivering both authority and humour while maintaining strong vocal clarity. Her interactions with Velma, Roxie, and Billy added balance and depth to the production. Sophie delivered a convincing performance as Mary Sunshine, using strong vocal clarity and composed stage presence to add authority and intrigue to the courtroom scenes. Tigo’s portrayal of Fred Casely had real impact, establishing the role’s significance early and setting key events in motion with confidence and clarity.
The ensemble delivered consistently strong performances, with ‘Cell Block Tango’ standing out among these. Esther, Cecily, Elizabeth, Mabel, and Elodie-Eve, as Liz, Annie, June, Hunyak, and Mona respectively, performed the number with precision, intensity, and cohesion, showcasing excellent choreography, characterisation, and teamwork while leaving a lasting visual impact.
The choreography, crafted by Mrs Lauren Slater-Klein and Ms Kym Lane, was polished, stylised, and firmly rooted in the Fosse tradition, perfectly suiting the jazz-inspired aesthetic of Chicago. Ensemble numbers demonstrated strong timing and coordination, while solos and duets were enhanced by purposeful movement. Mr Simon Taranczuk’s musical direction ensured clarity and emotional depth throughout, delivered by a polished nine-piece band in which five pupils performed with notable assurance.
Chicago was far more than a typical school production. It was a polished, energetic, and highly engaging performance that demonstrated exceptional talent, creativity, and teamwork. Every member of the cast and crew contributed meaningfully, with no weak links across the ensemble. As the finale played, it was clear that this stunning production left a lasting and memorable impression on both cast and audience alike.
‘This trial… the whole world … it’s all show business’ and what a show it was!
National School Theatre Awards
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