Chicago (High School Edition)
at Woodgrove High School

Reviewed on May 4, 2019

Lily Perez
Woodrow Wilson High School
Submitted for publication to Cappies News

Welcome to Chicago, where everyone wants to see their name in lights - but it comes at a cost. The seedy underbelly of the city in the 1920s, replete with the corruption of justice and a public obsession with female murderesses, provides fodder for the iconic musical, in which crime and crookedness morph into vaudevillian spectacle with a little razzle dazzle. Woodgrove High School's slick production actualized the instantly recognizable environment of the long-running Broadway production (originally directed and choreographed by Bob Fosse) and the acclaimed 2002 film, where slapstick comedy, dark cynicism, and show business coexist in the ultimate theatre - the courtroom.

Would-be celebrity criminals Velma Kelly and Roxie Hart's rivalry for the attention of the press, the public, and an attorney sure to get them off death row was realized by powerhouse performances from Julia Condie and Colleen Clark. Clark's cheeky Roxie was seamlessly indoctrinated into the world of the Cook County Jail, embracing the spotlight brought on by her crime with glee in numbers such as "Me and My Baby" and the idealistic "Roxie," both of which were burgeoned by her expressive physicality. Condie started the show with a bang in "All that Jazz," her mature voice, sly demeanor, and confident control of her movement setting a high bar for the production. While also responsible for choreographing many of the show's numbers, Condie and Clark were consistent in their vocal and dance ability, exhibiting strong chemistry as arch nemeses and later unlikely partners. Lukas D'Errico clearly characterized the silver-tongued lawyer Billy Flynn, appearing cooly manipulative but effortlessly charming in the standout number "We Both Reached for the Gun." Clark and D'Errico alike exhibited complete consciousness of the subtle comedy of the libretto which accentuated, through fourth wall breaks and witty asides, the text's satire of Vaudeville and the intersection of performance in theatre and the pursuit of justice.

Serving as a liaison between the immoral world of the musical and that of the audience, which were purported to be eerily akin, was the enthusiastic Master of Ceremonies (Kevin Crandall), with Mama Morton (Grace Harkins) also chiming in to introduce some of the night's numbers. Harkins' sophisticated presence and rich vocals strengthened her turn as the boss of the women's jail and exploiter of a system of "reciprocity." On the other end of the moral spectrum, the sympathetic Amos Hart (Issac Windsor) lamented being manipulated and overlooked, particularly in favor of Fred Casely (the memorable Dillon Holdridge), whose untimely death at Roxie's hands catalyzed the musical's events. Holdridge and Crandall returned as some of Roxie's Boys, who energized several numbers with complete commitment to choreography with unique movements which reflected Fosse's distinct influence.

With mesh and fishnet-laden costumes, the production evoked a contextual ambiguity which made its themes feel pressing, but then emulated Jazz-Age Chicago through the aesthetic of Rhona York's makeup and Isaac Winsor and Mason Telles' set. Double-tiered cell blocks contained the large ensemble and rotated to evoke different settings, with Joey Stitt and Vincent Vien's creative lighting punctuating the "Cell Block Tango" and "Hungarian Hanging." Laura Shelton's conducting kept the pit orchestra executing the lively score at a professional level.

Woodgrove's stylish and energetic production of Chicago (High School Edition) encapsulated the assertion that "All that Jazz" is enough to take common criminals straight to the top, if only they're willing to sacrifice their morality for an ephemeral grasp at stardom.

Matthew Wisdom
Riverside High School
Submitted for publication to Cappies News 2

Who says that murder's not an art? From the lights of Vaudeville to Cook County Jail, Woodgrove High School's production of Chicago teemed with the values that are held near and dear to all hearts: scandal, exploitation, and a Jazz-Age mischief.

With music by John Kander and book by Fred Ebb and Bob Fosse, Chicago has managed to hold the intrigue of audiences for decades with its roaring 20's setting and adept dancing style. In Roxie Hart's eyes, stardom upstages acquittal. After murdering her lover, this aspiring vaudevillian is sent to the cell blocks of Cook County Jail with her hopes of freedom resting in the hands of Billy Flynn, a lawyer whose perfect track record is almost as impressive as his manipulative skillset. While Roxie simultaneously fights for the attention of the press and Flynn, murderess Velma Kelly watches with a deep-rooted jealousy. Amidst a conflict of two unmitigated egos, Chicago satirizes the idolization of violence that sparked the public interest of the '20s, serving as the longest-running Broadway musical in history.

With challenging dance elements at the forefront of the stage, Woodgrove Theatre stayed true to the origins of the Fosse revolution. Drawing inspiration from the award-winning 2002 movie and multiple theatrical adaptations, the Jazz Age was revived in a typically suggestive dance manner. A performer who hit all kicks consistently was that Kat Niemann in the role of Hunyak, emphasizing the importance of dance behind a character whose only words are "not guilty."

An outstanding display of vocal talent helped maintain a strong core to the production. Roxie, played by the energetic Collen Clark, blended her strong vocal abilities and comedic timing together to create a well-balanced duo alongside the vocally stellar Julia Condie in the role of Velma Kelly. Both showcased a wide display of talent in songs such as "All That Jazz" and "We Both Reached for the Gun." Lukas D'Errico in the role of Billy Flynn displayed a plethora of well-rounded talent throughout Chicago. Using subtle character inflections to drive home powerful vocal performances, D'Errico not only managed to sway jury members and news reporters, but the audience alike. Another notable performance was that Grace Harkins in the role of Mama Morton, bringing about an influential stage presence to many scenes.

Alongside a handful of gifted performers, student conductor Laura Shelton and the Chicago Pit Orchestra delivered a powerful display of musical strength throughout Chicago. Working with classic pieces that ranged from ballads to the upbeat swing of Big Band, Shelton conducted with an immense amount of poise and comfort that emphasized the importance behind a well-crafted connection with her instrumentalists.

Chicago at Woodgrove High School was an entertaining depiction of the struggle between limelight and litigation, giving all audience members the "old razzle dazzle!"

Katherine Bouker
Woodrow Wilson High School
Submitted for publication to Patch.com

The musical Chicago takes place during the Roaring TWenties, a time of newfound freedom for women across the country. The 19th Amendment was passed at the start of the decade affording women the right to vote. Women became powerful and embraced their sexuality and feminine wiles. Woodgrove High School's production of Chicago, the Musical celebrated women's liberation from social bondage.

Chicago, with music by John Kander and lyrics by Fred Ebb, follows the story of Roxie Hart after she murders her lover, Fred Casely. While incarcerated, she encounters the women of Murderess Row and befriends Velma Kelly who has a thirst for fame. Hart secures Billy Flynn, the top lawyer in Chicago, to represent her. He expertly crafts a story, involving a baby and a divorce, to get the media to fall in love with her sob story, ultimately using this to acquit her of this horrible crime. Paradoxically, she is saddened by her not guilty verdict as her fame disappears and she must return to normal life with her blundering husband, Amos.

Julia Condie and Colleen Clark, who played Velma and Roxie respectively, doubled as the student choreographers. The choreography was inspired by Bob Fosse's 1975 interpretation of Chicago. The actors embraced the difficulty of the choreography and were on point throughout the production. Their masterful dancing skills were highlighted in the song, "Cell Block Tango" where we were introduced to the Six Merry Murderesses, inmates on Chicago's infamous Murderess Row.

The sets were constructed by Isaac Winsor, Mason Telles, and the Technical Theatre Classes and featured five periaktoi. Each periaktoi rotated to support the changing scenes. The set used in the opening scene set the stage for the '20s time period. It included Art Deco-inspired geometric designs and images of the Chicago skyline. Another wall of the periaktoi allowed the actors to enter cell blocks, which they clinged onto in captivity during the "Cell Block Tango." Overall, the set was multi-purpose and provided a simple backdrop for the razzle dazzle of the production.

Velma and Roxie were strong and independent vaudevillian performers characteristic of this era. They eschewed traditional morals and embraced their newfound feminine power. Both actresses had character voices and captivating vocals that seduced the audience and transported viewers to the charismatic 1920s. Condie's dancing was commanding as she led her fellow inmates throughout the production with her multitude of high kicks and controlling presence.

The audience was introduced to Billy Flynn, played by Lukas D'Errico, in "All I Care About Is Love." The Six Merry Murderesses accentuated his presence with white feathers as he stole the audience's hearts with his professional vocals. His acting was highlighted in "We Both Reached for the Gun" when he used Roxie as his ventriloquist dummy.

Mama Morton (Grace Harkins) was the buttoned-up mistress of the jail. She commanded the stage during "When You're Good to Mama" showing the criminals who is boss. The Master of Ceremonies (Kevin Crandall) was exuberant and he broke the fourth wall, communicating directly with the audience as he set the tone for each scene.

Chicago is ironically an epic tale of women's liberation set against a backdrop of women's incarceration. Woodgrove High School's students represented this irony and put on a production of Chicago that was truly "All that Jazz."

Anna Dueholm
Woodrow Wilson High School
Submitted for publication to Loudoun Now

The verdict is in on Woodgrove High School's rendition of Chicago: the performance razzle dazzled!

Roxie Hart is sent to prison after murdering her lover. There, she meets Velma Kelly and the two begin to compete for the press's attention in this upbeat, entertaining portrayal of real-life problems within the criminal justice system. Based on Maurine Dallas Watkins' 1926 play, Chicago puts a comedic twist on commentary on the intertwining of crime and fame in Chicago in the 1920s. Chicago hit Broadway in 1975 and continued into 1977. Typically an amusing and must-see production, Woodgrove's rendition was no exception.

Colleen Clark breathes life and energy into the show as her role of Roxie Hart. With dramatic animation and visible passion, Clark brings a comedic flair to the table. Her prison mate, Velma Kelly (Julia Condie), exudes maturity, both in her physicality and in her vocals. With her control and strength, Condie's dancing commanded the attention of the audience. Clark and Condie convincingly play off of each other to depict a competitive dynamic unlike any other.

Backing Roxie and Velma in several jailhouse scenes were the Six Murderesses, who captivate the audience with their vitality and unwavering vocal prowess. Looking after all the murderous women was Mama Morton (Grace Harkins), the prison matron who's always looking to help her girls out, with the expectation of reciprocity, of course. Her commanding presence and smooth voice stole the show in her "When You're Good to Mama" number.

With Mama's help, Roxie reaches out to Billy Flynn (Lukas D'Errico), the city's star defense attorney, who just so happens to also be defending Velma. With signature stylistic choices, D'Errico warrants laughter from the audience and stuns with his vocal ability. In "We Both Reached for the Gun," D'Errico and Clark's chemistry is palpable as the duo expertly execute a ventriloquist scene with noteworthy animation.

With a standout dance performance, the Hungarian murderess Hunyak (Kat Niemann) radiated passion and control in her physicality while vehemently insisting she was "not guilty." As the Master of Ceremonies, Kevin Crandall held his own, both vocally and with dance. Perfectly deadpan when needed, Crandall brought a different style of comedy to the performance.

No show is complete without tech, and Woodgrove did not fall flat. With a series of two-story jail cell blocks, the set brought the audience into the jailhouse. The set was impressively versatile, as the blocks were quickly turned and converted to a brick wall and later, a "Roxie and Velma" banner. Despite minor problems with sound where microphones occasionally cut off, actors were able to project their voices and be heard by the audience. The pit orchestra, with several standout violin solos, was artfully conducted by student Laura Shelton.

The cast demonstrated powerful vocals across the board. Actors clearly grasped the tone of the show with their use of nuanced character voices for each character they portrayed. From crisp choreography to stellar acting and stunning vocal power, Woodgrove High School's Chicago certainly lived up to "all that jazz."

Maya Andersen
Bishop Ireton High School
Submitted for publication to Loudoun Times-Mirror

She had an affair, she shot him, and now…she's a star? Roxie Hart may be on death row, but that won't stop her from becoming America's sweetheart. After cheating on her ever-so-loyal "cellophane" husband and shooting her lover, Roxie finds herself in the limelight, but being pulled by the strings that her lawyer has attached to her. Will she get acquitted? Or more important to her, will she become the star she has dreamed of being?

Woodgrove High School's rendition of Chicago stayed true to the cabaret musical with their Fosse-inspired choreography by Julia Condie, Colleen Clark, and Dillon Holdridge. The ensemble captured the essence of Bob Fosse with sharp, jazzy moves and and their movement as one collective group. The large use of chairs with the choreography proved very useful with a powerful effect on the audience.

A hilarious and sweet performance by Colleen Clark as Roxy Hart was present throughout the entire show, paired with fantastic vocals and dancing. She was especially notable in the number "We Both Reached for the Gun," where she performed an outstandingly accurate portrayal of a puppet. Julia Condie as Velma Kelly and Lukas D'Errico as Billy Flynn also demonstrated incredible vocal performances in numbers such as "All That Jazz" and "We Both Reached for the Gun" respectively.

An orchestra entirely made up of students and a student conductor was very impressive. One couldn't distinguish them from a group of professional players. The audience was fascinated by dancing performances from the Master of Ceremonies played by Kevin Crandall and Hunyak played by Kat Niemann. And of course, there was the fabulous "Nowadays" number, danced by choreographers Condie and Clark, the two leading ladies.

A clever use of cell blocks made up the set. Having three different sides to differentiate the locations, the cell blocks could be easily rotated, and therefore they could quickly make scene changes.

Flashy Fosse choreography, beautifully sung jazzy songs, and bouncy comedic performances came together to form an overall outstanding performance, leaving the audience singing Kander and Ebb's catchy songs in their heads.

Maddie Gold
Woodrow Wilson High School
Submitted for publication to Woodgrove Outlander

Outrageous murder, flashy dancing, alluring song, and all that jazz! The cast of Woodgrove High School did not disappoint in their fiery production of Chicago. Based on the 1926 play and musically adapted by John Kander and Fred Ebb, Chicago was brought to Broadway in 1975. The story follows Roxie, a fame-hungry woman who ends up in jail for murdering her lover, along with Velma, a vaudeville sensation who is also in jail for killing her husband. The two women are both defended by Billy Flynn, Chicago's top lawyer, but it becomes obvious that they care more about being in the papers than really getting out of jail. The cast of Chicago engulfed the stage in true '20s style to bring to life the satirical drama of criminal-celebrities.

Starting the show off with sophistication, Velma Kelly (Julia Condie) used her enchanting vibrato and controlled physicality to lead the rest of the dancers through a well-rounded number. A seasoned jailbird and performer, Condie masterfully brought out the essence of her character's confidence and maturity to naturally balance Roxie's more youthful, exaggerated persona. Roxie Hart (Colleen Clark) infused the show with energy and enthusiasm. Her over-the-top mannerisms and consistent vocals not only carried the plot of the show but made it more entertaining for the audience to watch. Her striking movement capabilities shined through in "We Both Reached For The Gun" where she physically portrayed a puppet that was being controlled by Billy Flynn.

Billy Flynn (Lukas D'Errico) filled the stage with smooth swagger each moment he had. D'Errico captured the best of the 1920s male personality with his radio-toned vocals and confident interactions. With nuance, he brought out the subtle humor in the show while still being believable as an actor. He complemented the dancers well, as his singing and sauntering during songs like "All I Care About Is Love," was surrounded by glitzy movement and feathers. With a similar air of confidence, Mama Morton (Grace Harkins) commanded the stage with her performance of "When You're Good to Mama." Her dynamic voice and demanding presence added more depth to the mood of the show.

For a show known for its dancing, the cast of Chicago had an important job to do. Remarkably, the choreography was created by the show's very own Velma and Roxie. The two girls did the Fosse style justice, with plentiful kicks and jazz hands. While all of the ensemble executed the dance moves regardless of experience, Hunyak (Kat Niemann) stood out of the crowd. Her attention to detail in each dance move pronounced a professional-like quality in the show.

In addition to the dancing, the set was just as time-period appropriate and integral to the plot. As moving pieces complete with jail cells, the set was spot-on in recreating the famous cell-block numbers, while also being quick to transition into other scenes.

Woodgrove High School's talented cast cultivated their passion to put on a noteworthy performance of Chicago. They proved that the key to putting on a sensational show takes just a bit of "razzle dazzle."

Paige Hollander
Woodrow Wilson High School
Submitted for publication to Woodgrove Outlander

Woodgrove High School left us begging for more after their production of Chicago. From sequin leotards to Merry Murderesses the production glittered with the roar of the '20s.

Based on the 1926 play by reporter Maurine Dallas Watkins, the Jazz-Age musical classic choreographed by Bob Fosse tells the story of a young women in prison for the murder of her lover. Her dreams of becoming star start to become reality as the publicity from her crime gains traction. The show is the second longest running musical on Broadway since its revival in 1996.

The ensemble played a pivotal role in the production. From reporters to inmates the cast attempted intricate dance numbers and sang through the numerous songs with zeal and maturity.

Colleen Clark (Roxie Hart) brought life and energy to the performance. Her enthusiasm shone through on stage highlighting her physicality and facial expression. She fulfilled her characters comedic potential, finding the irony and sarcasm of the story. From opening to closing curtain she vocally carried the weight of show.

Julia Condie (Velma Kelly) sung her numbers with a vocal talent and maturity uncommon for her age. She displayed utter devotion to her character, depicting a vaudevillian murderess with solidity.

Lukas D'Errico (Billy Flynn) was the embodiment of the corrupt lawyer. His characterization was detailed and showed a true understanding of his Flynn's motives and thoughts. He tapped across the stage with confidence and swag. He displayed impressive vocal stamina, his performance drawing the audience's attention.

Grace Harkins (Mama Morton) was the essence of the hardened prison warden. Vocally supporting the show and remaining in character through body language the entirety of the production. Savannah Geiger (Mary Sunshine) hit every high note with ease, successfully playing the star struck reporter.

The cyclorama was framed with five rotating cell blocks. The lighting was minimalistic and despite minor technical difficulties the effort and talent of crew and cast was evident. The student choreographers drew inspiration from the 2002 movie and Broadway show to put together the production numerous dance numbers.

The audience was absolutely "razzle dazzled" by Woodgrove high. Their talent and time payed of in this sparkling rendition of Chicago.