Chicago
at Heritage High School

Reviewed on April 23, 2016

Maggie Klein
Oakton High School
Submitted for publication to Washington Post - Loudoun

Who says that murder's not an art? As crooned by Roxie Hart, murder, fame, and all that jazz came together in Heritage High School's recent production of Chicago to create a splendorous dark show.

Based on reporter Maurine Dallas Watkins' 1926 play of the same name, Chicago satirizes the "celebrity criminals" she reported on in Prohibition-era Chicago. With music by John Kander, lyrics by Fred Ebb, and book by Ebb and iconic choreographer Bob Fosse, the musical originally opened on Broadway in 1975. The 1996 revival holds the record for longest running American musical and the 2002 film version, directed by Rob Marshall, won several Academy Awards.

Centered on two murderesses fighting for fame (and their lives) in the Jazz Age, both Velma and Roxie dazzled the audience. As wannabe star Roxie Hart, Jordan Temme demonstrated extreme energy and versatility. From sultry, yearning solos like "Roxie" to bigger, energized numbers such as the crowd favorite "We Both Reached for the Gun," Temme's animated facial expressions and vocal choices kept the show lively and fun.

As seasoned vaudevillian and criminal Velma Kelly, Emma Leone was a true triple threat. Sophisticated dancing in "I Can't Do It Alone" and a mature, pitch-perfect voice in "And All That Jazz" and "I Know a Girl" were matched by spirited yet believably layered acting throughout the whole show. The ladies had incredible chemistry with one another, evident in "My Own Best Friend" and "Hot Honey Rag," and created tension and a dynamic relationship without one ever overshadowing the other.

As the "silver-tongued prince of the courtroom" Billy Flynn, Nick Trusty delivered smooth vocals and convincing acting as Velma and Roxie's manipulative lawyer. Matron "Mama" Morton, played by Jai-Lani Walker, was tough, funny, and had a powerful voice that blended beautifully with Velma's in "Class." Aiden Carroll brought heart to the good-natured Amos Hart, Roxie's devoted yet overlooked husband, and wowed the audience in "Mister Cellophane" with his mellow voice, impressive dancing, and genuine, sympathy-inducing acting.

Strong lead actors were boosted by an impeccable ensemble that never once let their energy drop. Tricky choreography (a mix of Fosse-inspired jazz, tap, and hip-hop) was attacked with precision and vigor. Perfect timing, clean, sharp movements, and even acrobatic moves showcased in "Razzle Dazzle" heightened the show's believability.

A minimalistic set and simple yet glamorous costumes created a slick, swanky atmosphere. Mobile, two-story jail cells and staircases were moved seamlessly and re-purposed to fit the need of every scene. A colorful backdrop lit to outline the silhouettes of the dancers in red and black committed to the classic, risqué aesthetic of the show. Almost every character wore a simple black costume, but each outfit was individualized and perfectly fitting to the actor. Additionally, subtle sparkles, red fans, and thoughtful accessories added depth and pops of color to the all-black color scheme.

Despite a few issues with not being able to fully see a character's face or hear their entire line, the sound and lighting were exemplary. Fluid, colorful lighting set the tone and a charismatic live orchestra contributed to the enthralling nature of the show by intensifying serious moments such as Hunyak's execution, comically interacting with those on stage, and overall amplifying the jazzy, slinky music and mood of Chicago.

Stunning in both performance and technical elements, the cast and crew of Chicago proved that murder really is an art.

Aline Dolinh
Oakton High School
Submitted for publication to Washington Post - Loudoun

In Prohibition-era Chicago, madness, moonshine, and merry murderesses reigned the scene – and Heritage High School certainly succeeded in bringing the "razzle-dazzle" of that world to their sensational production of Chicago. Thanks to a coherent, aesthetic, and smoothly paced faithfulness to the Bob Fosse-style choreography, this incarnation of the vaudeville musical perfectly captured the sinful, salacious spirit of the times.

Based on a 1926 play of the same name, the original Fosse and Fred Ebb-penned musical garnered several Tony nominations upon its 1975 release and has since become one of Broadway's longest-running productions. Chicago follows the trajectories of Velma Kelly (Emma Leone) and Roxie Hart (Jordan Temme), two accused killers with few scruples and celebrity aspirations. Though sleazy defense lawyer Billy Flynn (Nick Trusty) represents both, the two women eventually become rivals in their fight for the limelight.

Leone's sultry, confident Velma didn't disappoint thanks to her consistent vocals and nuanced acting, presenting a clear understanding of Velma's dramatic ambitions and fear of losing the spotlight. "Nowadays," her duet with the similarly striking and strong-voiced Matron "Mama" Morton (Jai-Lani Walker), showcased their impressive harmonies. And as fellow fame-seeking murderess Roxie, Temme played her role with equal panache – her expressiveness and committed physicality was on full display in numbers such as the ventriloquist-inspired "We Both Reached for the Gun" and the exaggerated theatrics of her trial in the second act. However, as Roxie's beleaguered husband Amos, Aiden Carroll also proved an unlikely standout among the main cast. In the emotionally affecting "Mr. Cellophane," his sympathetic performance and dazzling flexibility briefly stole both the show and the audience's hearts.

Thanks to a strong ensemble and sharp, practiced choreography, numbers such as the aforementioned "We Both Reached for the Gun" and the sensual "Cell Block Tango" appeared pitch-perfect onstage. An impeccable orchestra also helped recreate the jazzy atmosphere of the 1920s, and the trumpet and saxophone sections in particular shined during their respective solos.

All elements of production design were integrated onstage, with a black, white, and red color scheme apparent in everything from the purposeful lighting and use of shadow to the well-fitted costumes. The show's juxtaposition of light and sound, which was enhanced by well-timed special effects such as gunshots and camera shutters, truly immersed the audience into the glamour and luridness of the time period. And despite some occasional microphone buzzing, the main cast nevertheless adapted to the problem valiantly.

While minimalistic, the sets – particularly the women's cell block – proved to be vital characters of their own during the show, and their clean construction allowed them to be seamlessly incorporated in all scenes. Moreover, a near-invisible running crew executed transitions flawlessly by moving all set pieces swiftly and silently.

Thanks to an unwavering commitment to bringing both the characters and the world of this glittering era to life, Heritage's rendition of Chicago balanced risqué, show-stopping spectacle with sharp media satire to create one astonishingly entertaining performance. This show was truly "all that jazz" – and more.

Jessica Dallessandro
Oakton High School
Submitted for publication to Patch.com - Loudoun

Rouge your knees, roll your stockings down, and prepare to be razzle dazzled! Heritage High School's performance of "Chicago" is jam packed with powerful vocals, a seamless and ingenious set, and a brilliant orchestra that will leave you pining for the world of pre-prohibition Chicago.

Originally created in 1975 by John Kander, Fred Ebb, and Bob Fosse (who's signature choreography is one of the trademarks of the show), "Chicago" is the longest running American musical on Broadway. After a 1996 revival that swept the Tonys, it was transformed into an Oscar winning movie, and has enjoyed several international tours. "Chicago" follows the story of two sparring women, Roxie Hart (Jordan Temme) and Velma Kelly (Emma Leone) on trial for two separate murders. Represented by the same lawyer, notorious shark Billy Flynn (Nick Trusty), the women are treated to fame, glory, and adoration by the media that slips away when the next big story comes along. In time, Roxie and Velma come to understand the fleetingness of stardom, and the importance of "living the life you like."

Actress Jordan Temme opened with perhaps her best number, "Funny Honey," and offered a performance that evolved and grew as the show progressed, making for one of the most compelling story arcs of the evening. Actress Jai-Lani Walker (Matron Mama Morton) gave a comically entrancing performance that began with "When You're Good to Mama" and continued every time she sauntered on stage, portraying a confidence and boldness worthy of the iconic character. Her harmonies with actress Emma Leone (Velma Kelly) during "Class" were stunning, the result of both hard work and raw, natural talent. Emma Leone delivered a dominant and sizzling vocal performance throughout the entire evening, maintaining a high energy and lively facial expressions even through the sultrier, slowly paced numbers. The ensemble of singers and dancers achieved perfect synchronization during even the most complicated of numbers, and elevated the show to another level, oftentimes working as the running crew with a very large, multi-level set that was flawlessly integrated into the songs. Other highlights include Roxie's self-deprecating husband Amos (Aiden Carroll) and Hungarian murderess Hunyak (Liz Bentley). All backed by a scintillating pit orchestra, the actors truly did the show justice, addressing every element of its thematic complexity and submersing the audience in the ambiance of an infamous time period.

Adding to the performances were a series of complex, well thought-out technical elements that lent a layer of intricacy to the show. The set consisted of five two-level structures, all on wheels and effortlessly moved around, that acted as prison cells, a courtroom, even a gallows! Heritage made substantial modifications to their lighting system in order to cast bedazzling purple, blue, or red lights during different numbers. However, the dark colors occasionally made it difficult to see the actor's faces. The sound crew (Aubrey Yokum, et al) had to juggle upwards of 30 individual microphones, and though there were problems with interference and a few buzzing sounds, it was an impressive feat. The show utilized the bare bones of a set, going for a simplistic and minimalist style, allowing the attention to be focused on the singing and dancing.

Despite a few minor technical flaws, "Chicago" at Heritage High School managed to perfectly capture the iconic choreography and raunchy vocals of an infamous show. With an implicit reminder to be happy with who you are, it would be severely unwise to, as Roxie warns, stay away from jazz and the world that Heritage created.

Andrew Sharpe
Westfield High School
Submitted for publication to Loudoun Now

"A story of murder, greed, corruption, violence, exploitation, adultery and treachery" sets the scene for the dark and seductive musical that was fantastically epitomized in Heritage High School's "razzle dazzling" performance of Chicago.

Chicago: The Musical is written by Frank Ebb and Bob Fosse and is based off of the 1926 play of the same name. The story follows Roxie Hart as she manipulates the role of a celebrity criminal. She avoids the death penalty for the murder of a nightclub regular, Fred Casely, and makes friends and enemies in the process. The original Broadway production was choreographed by Bob Fosse and ran for 936 performances. The revival received much more critical acclaim, garnering six Tony awards which was a record at that time. The show has promoted several revivals and a full length movie in 2002.

Roxie Hart was adroitly portrayed by Jordan Temme whose vibrant vocals put her in the spotlight throughout the show. Roxie created palpable tension between her and Velma Kelly as they fought over being on the front page of the newspaper. Her hilarious manipulation of the jury in her trial was certainly a highlight of the entire show. Velma was also expertly played by Emma Leone who immediately set the mood of the Prohibition era with the opening number "All That Jazz." Velma had a powerful sultry voice that perfectly fit the setting of the musical and was showcased in several numbers. Both Velma and Roxie blended their voices together beautifully and their journey towards becoming friends was completely believable. Roxie's miracle worker lawyer Billy Flynn was played by Nick Trusty. Nick had a strong vocal range and developed entertaining relationships with all of the cellmates.

Roxie's devoted and reserved husband Amos was proficiently played by Aiden Carroll. His frustration and helpless love for Roxie was flawlessly captured in his solo number "Mr. Cellophane". He ironically demonstrated his unknown dancing skills and superb vocal technique in a truly breathtaking number. Another stellar performance was given by Jai-Lani Walker who played Matron "Mama" Morton. Her soulful voice and comical commentary on criminal acts was a nice addition to the production.

The jazz ensemble was full of energetic and talented dancers. The simplistic Fosse-inspired choreography was executed crisply and the movement of the ensemble only added to the overall production. They moved the large set pieces with ease and were constantly engaged in the action on stage.

The technical aspects all worked off each other expertly to create a convincing illusion of the roaring 20's. Lighting carried the theme of the dark and deep red colors and emphasized the detailed costume work. The two-story jail cells were daunting and simply maneuvered around the stage by the crew. Set changes were speedy and silent thanks to the straightforward set. Another place where attention to detail was evident was in the hair and makeup. The girls and the boys each had thoughtful hairstyles and facial highlights. The orchestra hit all the right notes as they personified the mood of the show through amazing renditions of the music.

In a world where crime is the way to the front page, Heritage High School's marvelous production of Chicago certainly is a special edition.