Chicago (High School Edition)
at Chantilly High School

Reviewed on October 26, 2018

Elizabeth DeProspo
Stone Bridge High School
Submitted for publication to Cappies News

In the dazzling, competitive world of Chicago's murderesses, innocence can easily be manufactured with a sharp-tongued lawyer, a sob story that outshines the rest, and a whole lot of "Razzle Dazzle." Complete with dastardly divas, killer vocals, and husbands that couldn't seem to catch a break, Chantilly High School brought the 1920s to life onstage with an unforgettable performance of Chicago.

Chicago, adapted by Fred Ebb and master choreographer Bob Fosse from a 1926 play of the same name, acted as a commentary on the Chicago media's infatuation with female killers in the 1920s. The musical centers around Roxie, a young woman who is distraught at the possibility of being hanged after murdering her lover. After arriving at Cook County jail, Roxie begins a bitter feud with fellow jailbird Velma, and the two find themselves competing for the attention of the media and their lawyer, the money-hungry Billy Flynn. Roxie quickly realizes that her reason for firing the gun matters far less than her ability to put on a captivating show in the greatest theater of all - the courtroom.

As the curtain rose and welcomed the audience into the 1920s jail, murderess Velma (Elise McCue) instantly seized the room with her dynamic rendition of "All that Jazz," complete with twirling flapper dresses and flashing multicolored lights. Throughout the show, Velma maintained a mocking and dark demeanor, while Roxie's (Lauren Spiers) starstruck and shy personality melted under the heat of the spotlight to reveal her inner thirst for fame. Roxie's husband Amos (Suryanshu Kommoju), the only honest and well-intentioned character in the musical, expertly worked raw sadness into his emotional standout number "Mr. Cellophane." Meanwhile, lawyer Billy (Alex Yee) played the stark opposite of honest Amos by suppressing any ethical concerns and smoothly playing Roxie's conniving puppeteer in "We Both Reached for the Gun."

In addition to the strong characterization and vocal skills of the main characters, the members of the ensemble mastered the ability to respond to events with genuine and convincing reactions, especially when Roxie was on trial and the court appeared completely enthralled as she acted out her new and heavily modified version of the murder she committed. With the help of victim Fred's (Jun Ito) slapstick comedy, Roxie clearly had the jury, which was comprised of sympathetic men and popcorn munching women, wrapped around her finger.

Although Chicago is filled with fast paced scenes, the precise management of the characters' microphones ensured that not a single line was missed. The colorful lighting and cleanly designed multi-level stage contributed to an impressive level of professionalism in songs such as "Cell Block Tango," in which silhouettes danced in front of glaring red lights on the second level of the stage as a spotlight illuminated each murderess as she reenacted her crime.

Each actor had a masterful grip on his or her own style of manipulation, as well as clear character motivations in mind. From the very first gunshot to the very last note, Chantilly High School utilized every element of the stage to craft a lively, well-rehearsed, and thoroughly enjoyable production of Chicago.

Shira Fink
Clarksburg High School
Submitted for publication to Cappies News 2

"Chicago (High School Edition)" at Chantilly High School was full of razzle, dazzle, AND all that jazz! With music written by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse, Chicago is the second longest-running show on Broadway and has won an outstanding six tony awards. Following Roxie Hart's murder of Fred Casely as she goes from timid fangirl to rising celebrity, the 1975 satire criticizes the corruption of the US legal and justice system.

The show opens with triple-threat, Velma Kelly (Elise McCue). Her on-point vocals were strategically aligned with that of Velma and her acting never strayed from her seductive, villainous character. Roxie Hart (Lauren Spiers) shined during her spotlight debut, "Funny Honey" and conveyed superb acting in "We Both Reached for the Gun" as she depicted a puppet being controlled by her money-hungry lawyer, Billy Flynn, the ventriloquist. Her character arc was well rooted in her glitzy portrayal. Billy Flynn (Alex Yee) had a commanding presence and delivered solid and consistent vocals throughout. Andy...I mean Amos (Suryanshu Kommoju) won the audience's heart and had the audience aww-ing every time he stepped on stage. His song, "Mr. Cellophane" is the only truly sincere, heartfelt song in the show and he carried it out with flying colors. Fred Casely (Jun Ito), though only a featured character, established his scene, a slapstick showstopper, with his comedic timing and hilarious physicality.

If the audience's eyes were to wander into the background, they wouldn't be able to find a single ensemble member who was not fully involved. Their energy was infectious and much appreciated. From eating popcorn in the courtroom to aesthetically pleasing tableaus, each little touch had a booming impact. Notably, the "Cell Block Tango" sextet killed their iconic number delivering a strong resemblance to that of the original Broadway production, offering a much-appreciated homage. The dancing was impressively choreographed by students who did a spectacular job incorporating accurate Fosse techniques. Additionally, being that it was a high school edition, the cast marvelously embraced it and playfully emphasized their language for comedic effect.

With a flashy, over-the-top show like Chicago, the lightning had to be amazing and the crew certainly lived up to expectations. The cyclorama was lit with the perfect colors to reflect the mood of the scene and created gorgeous silhouettes and shadows. The spotlight intentionally forgetting about Amos, the circling lights during Flynn's entrance, and the use of staircase lighting were all well executed. Sound was practically perfect. There was not one song cue missed, forgotten mic, or feedback issue which is a truly enormous feat for a high school production. The intelligently designed set, the countless blingy costumes and the genius prop construction cannot go unmentioned. Also, having the cast move set pieces in a dance fashion was brilliant.

The show's energy at times would build to great heights, but then fall a bit flat, leaving the audience wanting more. Despite this, the show was nothing short of outstanding. Chicago at Chantilly High School left us all saying "If you'd have been there, If you'd have seen it" you would have loved it too!

Elizabeth Germain
West Springfield High School
Submitted for publication to FCPS Community News

"This is Chicago, kid. You can't beat fresh blood on the walls."

This past weekend, Chantilly High School tackled the popular musical "Chicago." This 1975 musical with music by John Kander, lyrics by Fred Ebb, and book by Fred Ebb and Bob Fosse, tells the tale of Roxie Hart, who rockets to fame after murdering her lover Fred Casely. She is aided in her rise to the top by the famed lawyer Billy Flynn and replaces vaudeville dancer Velma Kelly as his star client.

An engaged ensemble and detailed technical work anchored the show. The Merry Murderesses' excellent execution of difficult choreography and commitment to individualized characters made "Cell Block Tango" a highlight, and the ensemble displayed versatility in "Razzle Dazzle" with its various circus tricks, including two girls riding unicycles. Roxie's trial scene stood out due to the ensemble's varied reactions and Jun Ito's hilariously exaggerated portrayal of a violent Fred Casely.

Lauren Spiers portrayed a bubbly Roxie Hart whose change from a nervous prisoner to a histrionic manipulator highlighted the sensationalism and materialism of the 1920's. Always by her side (unless more money was elsewhere), stood the smarmy lawyer, Billy Flynn, portrayed with confident ease by Alex Yee. In "We Both Reached for the Gun," Yee played the perfect puppeteer with his energetic vocal performance and imitation of Roxie. This, combined with Spiers' marionette doll movements and mechanical opening and closing of her mouth created an excellent number.

Elise McCue superbly portrayed Velma Kelly's dark edge and desperation to claw her way back into the spotlight. In "I Can't Do It Alone," her final notes floated effortlessly into a gentle call for help and contrasted with her usual confident belting to illustrate her genuine fear of losing fame. Suryanshu Kommoju provoked sympathy with his outstanding performance as the sheepish, loving, and gullible Amos. In "Mr. Cellophane" his intricate vocal performance balanced loud and soft notes to display both anger and sorrow. Also of note was Rosa Broadberry's bright operatic voice as Mary Sunshine and Max James and Piper Read's technical skill as featured dancers.

Vickie Ly and the costume crew produced a dazzling display of 361 costume pieces, including sparkling blue peacock dresses and headdresses for the show girls, black outfits with pops of red for the Merry Murderesses, and and a golden gown hidden under the plain black uniform of a prison keeper for Mama Morton. The versatile set with two levels made for smooth scene changes and the impeccable sound work kept the flow of the show. The lighting set the mood, from dramatic red in "Cell Block Tango," to pink in "When You're Good to Mama," and blue in "Mr. Cellophane"--wherein, in a purposeful ironic touch, even the spotlight could not locate Amos.

With its commitment to both the glitzy surface and dark underbelly of a show about a city where there is always fresh blood on the walls, Chantilly High School gave its all in this razzle, dazzling musical, creating a world of murder, corruption, adultery, greed, and "all that jazz."

Alannah Rivera
McLean High School
Submitted for publication to Patch.com

Isn't it grand? Isn't it great? Isn't it swell? Isn't it fun? Chantilly High School's razzle-dazzling performance of "Chicago (High School Edition)" is all of those things and more. With its enthusiastic cast and exceptional crew, the performance was not a bit reprehensible.

"Chicago," a musical adaptation of Maurine Dallas Watkins' 1926 play, opened on Broadway in 1975. The 1996 revival garnered six Tony Awards, including Best Revival of a Musical, and the 2002 film received the Academy Award for Best Picture in 2003. Co-created by Fred Ebb, John Kander, and iconic choreographer Bob Fosse, "Chicago" holds the title of longest running American musical in Broadway history. Set in the large Illinois city during the Jazz Age, the plot follows Roxie Hart and Velma Kelly, two imprisoned murderesses hungry for adoration and acquittal. In the world of fast shifting-media focus, the pair fight for the spotlight, only to realize how fleeting fame really is.

The name on everyone's lips was certainly "Roxie" after Lauren Spiers' stellar performance. Capturing the essence of a superficial showgirl, Spiers' animated expressions and perky attitude never wavered. Contrasting Spiers' youthful vivacity, Elise McCue (Velma) commanded the stage with a collected confidence and a sultry swagger, captivating the audience from her first entrance. Spiers and McCue's voices blended seamlessly in songs such as "My Own Best Friend," showing how closely connected the pair was despite the competition between their characters.

Supporting the merry murderesses through their trials as the dashing defense lawyer, Billy Flynn, Alex Yee's suave attitude and sharp wit had everyone believing that his clients were innocent. Roxie's funny honey, Amos (Suryanshu Kommoju) quickly became a crowd favorite. The sweetness, sensitivity, and self-doubt expressed in his song, "Mr. Cellophane," elicited genuine pangs of sympathy from the audience. The three-ring circus of ensemble members lent vital support to every scene they were in. Each actor maintained their individuality without drawing attention away from the focus of the scenes and flooded the stage with energy in large group numbers such as "We Both Reached for the Gun" and "Razzle Dazzle."

The high quality work of the technical crews really brought the vaudevillian atmosphere of 1920's Chicago to life. The sweeping two-story set, flashy costuming, and the work of the student choreographers paid homage to the original production while still maintaining originality. The colorful lighting used underneath the stairs of the set reflected the actors' mood and intensity and the creative use of dark silhouettes against the cyclorama added a new dimension to the scenes onstage. Also commendable was the work of stage manager Valerie Mellard. While music from a recording can be difficult to cue on time, Mellard never missed a beat.

The outstanding talents and efforts of the cast and crew of Chantilly High School's "Chicago (High School Edition)" were so splendiferous that every audience member was brought to their feet. And if you'd have been there and you'd have seen it, I betcha you would have done the same!

Maddy Rubin
Langley High School
Submitted for publication to Connection

Lights, camera, "Chicago." The audience leaned forward in their seats as the curtain opened to reveal a single silhouette. From the moment the curtain opened till the cast's final bow, the audience watched with bated breath as the talented cast told a story of corruption and charm. Combining dark slapstick humor with the show-biz and sequins of the Jazz Age, Chantilly High School's production of "Chicago (High School Edition)" was a sight to behold. The classic musical was based on a 1926 play, and features a book by Fred Ebb and Bob Fosse, with music and lyrics by John Kander and Fred Ebb. The show boasts the second longest run of a show on Broadway and a best-picture winning movie adaptation.

Set in the Roaring 20's, the show tells the story of a murderess who is desperate to get acquitted. After murdering her lover, the energetic nobody Roxie Hart, played by Lauren Spiers, is transformed into a starlet who will do anything for attention. The puppeteer behind Hart's rise to fame is the silver-tongued lawyer Billy Flynn, played by Alex Yee. As Roxie gains the attention of the press and Flynn, fellow murderess Velma Kelly (Elise McCue) watches with jealousy. McCue's biting tone and bombshell personality wowed the audience as the rivalry between the two turned into a grudging partnership. The unlikely star of the show is Roxie's husband, Amos Hart, played by Suryanshu Kommoju. His solo number, "Mr. Cellophane," charmed and amused the sympathetic audience, whose hearts were stolen by his earnest and bashful attitude.

Just as intriguing and talented as the principal characters was the sizable ensemble, who play everything from dancing murderesses to popcorn-munching jury members to smartly-dressed reporters. The student choreographers were able to showcase everyone's ability, along with a few gimmicks such as unicycling and plate spinning.

Aside from impressive performances, the production also features many brilliant technical elements. The two-story set combines art deco influences with the streets of Jazz Age Chicago, integrated with a vibrant lighting design. The lighting design also added humor to the show, as the cheeky spotlight mocks the characters in several numbers. The costume design mixed period and modern influences, with each ensemble member having a unique costume that fit seamlessly with the rest of the cast's wardrobe. Also notable was the stage management team (Valerie Mellard and Annabelle Kirkendall), whose meticulous attention to detail ensured that not a single cue was dropped.

Alluring and artistic, Chantilly High School's production of "Chicago" really was "All that Jazz."

Julia Tucker
Westfield High School
Submitted for publication to Fairfax County Times

"Who said that murder's not an art?" Chantilly High School's intoxicatingly sultry production of Chicago made being bad never look better.

Set in the mid-1920's in the bustling crime-capital of Illinois, Chicago revolves around the story of aspiring vaudevillian Roxie Hart and her satirical attempts to be acquitted of her murder charges. The musical, based on a 1926 play of the same name, features music by John Kander, lyrics by Fred Ebb, and a book by Bob Fosse.

Chicago at Chantilly High School was a whirlwind of excitingly intricate dancing and wonderful vocals to match. Throughout the duration of the show, every person, ensemble and leads alike, was engaged and reacted to the action on the stage. Huge grins framed the female ensembles' faces as they danced along to "All I Care About" which contrasted greatly with when they wore smug expressions as they performed "Cell Block Tango." The choreography, although challenging, was executed with style and pizzazz by all members of the ensemble.

With strong vocals, sass, and clever comedic timing to back it up, Lauren Spiers thoroughly captured the headstrong murderess nature of Roxie Hart. Spiers showcased her vocal ability in "Funny Honey," using her beautiful, seemingly effortless, vibrato to add dimension to the song. In addition to her lovely voice, Spiers demonstrated her theatrical strengths in the court scene where she is proving herself innocent of her crime. She used hilarious physicality to manipulate the truth of her tale and frequently "broke the fourth wall" to further the comedic impact of the scene.

Suryanshu Kommoju as Amos perfected his character not only through his stellar acting but also through his wonderful voice. Amos is Roxie's foil; while Roxie is all manipulation and deceit, Amos is the epitome of benevolence and honesty. So, while their characters were contrasting, Kommoju matched Spiers in vocal talent and performance ability. Kommoju made the audience laugh with pity for Amos while he displayed his woes of always being forgotten in "Mr. Cellophane." Alex Yee demonstrated his charmingly sweet voice in "All I Care About" and "Razzle Dazzle". Combined with his comedy skills, all eyes were drawn to Yee whenever he took the stage. Elise McCue as Velma Kelly wonderfully captured Velma's "sorry not sorry" personality and flaunted her delightful voice in "I Can't Do It Alone and "My Own Best Friend."

The stage management, overseen by Valerie Mellard, was of impeccable quality. Charts upon charts of information were created by Mellard and relayed around to actors to assure that every participant was informed and prepared. The costumes, managed by Vickie Ly, were historically accurate and eye-catching. Every character had a distinctly different costume which added to the appeal of the scene. The Chantilly sound team did an outstanding job of blending the microphones to achieve seamless audio.

Unlike the vaudeville of Chicago, the Chantilly theatre department needs no manipulation skills to impress their audience. With poise and talent, Chantilly High School proves that sometimes it feels good to be bad.