Chicago (High School Edition)
at South County High School

Reviewed on May 4, 2019

Raviv Levone
Albert Einstein High School
Submitted for publication to Cappies News

Chicago — home of Cloud Gate, Willis Tower...and the six merry murderesses of Cook County jail. At least that's the canon of South County High School's "Chicago (High School Edition)." This production is adapted from the current Broadway version of "Chicago," which was revived in 1996 after a failed stint following its first opening in 1975. The longest-running American Broadway musical, "Chicago" spins a tale of murder and treachery with captivating choreography by the late Bob Fosse.

South County's performance was no different. In fact, it blew the audience out of the water. The two leading ladies, Velma Kelly (Hannah Chester) and Roxie Hart (Emily Mann), were absolutely phenomenal. Both actresses stole the show with incredible dance skills, powerful vocals, and distinct — yet compelling — characters. Velma's brash, sassy attitude beside Roxie's doe-eyed cunning brought out the most interesting aspects of each woman's character. Velma, opening the show with the iconic "All That Jazz," gave the audience an immediate reassurance that this performance was well worth the admission. Later, "Roxie" showcased Roxie's sly, deliberate side in a thrilling number.

The ensemble of "Chicago" was in a league of its own. They moved as a unit, performing complex choreography in stunning synchronicity. Numbers such as "We Both Reached for the Gun" emphasized the strength of the ensemble's cohesion — and of course "Cell Block Tango" allowed the six merry murderesses a chance to show off their skills, dancing, singing, and acting. The ensemble left nothing to the imagination.

One particularly delightful surprise was the character Amos, played by Ian Pathak. Amos famously sings "Mr. Cellophane," and Pathak really knew how to belt it out. His full vocal skill brought "Mr. Cellophane" to life, along with a little tap-dancing magic and some snazzy white gloves. Amos's character inspired sympathy — an emotion not exactly present for any of the other characters. He was a charming, if heartbreaking, change of pace, and a nice breather from all the chaos of the show.

The cast really gave the show their all. Two characters in particular stood out: Billy Flynn (Kevon Thompson) and Matron "Mama" Morton (Olivia Morris). Billy Flynn, the money-hungry, smooth-talking lawyer, drew the audience's eyes from the moment he stepped onstage. Everything about him radiated charm. Thompson had a strong stage presence and high energy, which boosted the show as a whole. Mama did the same, but without any pretense of smoothness; she was all intention. Her presence onstage was absolutely delightful — especially her first entrance. Mama had enough sass to counter Velma's, which made them entertaining scene partners. Meanwhile, Billy Flynn's silver-tongued meddling pushed the story along at every lull. Both performers gave these characters life and made each fun to watch.

"Chicago" is set in the 1920s, and the costumes made that fact very clear. Each dress glittered with designs — inspiration had clearly been taken from the era. The wigs also added to the immersion. There were many technically impressive aspects. The cyclorama brought intense color to the background, setting the mood for each scene before it began. The sound mixing allowed the characters to sing powerful numbers without blowing out the mics. And projections on the walls beside the stage helped to identify the scene, allowing the stage itself to make use of minimal set units. Overall, the performance ran smoothly, and techs were largely responsible.

"Chicago" is absolutely a classic, and classics can be tough burdens to take on. South County showed none of that challenge, only a perfectly polished finished product that left the audience wanting more. The audience was certainly razzle dazzled!

MaryMargaret Lehmkuhler
St. Stephen's & St. Agnes School
Submitted for publication to Cappies News 2

Murderesses.....showbiz.....the fleetingness of fame.....As the lawyer Billy Flynn says, "That's Chicago, kid".

The musical Chicago was based on the true story of a woman who murdered her lover who rose to fame among all the media coverage of her case. A reporter named Maurine Dallas Watkins later realized that her account of the trial had actually brought fame to the killer, and maybe even helped get her off scot free. She wrote a play about it in 1926, which was adapted in 1975 as the musical Chicago.

Chicago follows the story of Roxie Hart, a woman who murdered her boyfriend, an act which her husband is none too happy about. The musical chronicles her journey into the underworld of Chicago crime and all the glitz and glamour that comes with being a famous killer.

Hannah Chester as Velma Kelly and Emily Mann as Roxie Hart were truly stunning dancers. They pulled off their choreography with grace and character, doing splits, high kicks and everything in between. Chester's enthusiasm for her role was evident in her expert comedic timing, fierce expressions and vocals. Mann's precision in her dance steps and ringing voice similarly showed a commitment to her role.

Olivia Morris gave a standout comic performance as Matron "Mama" Morton. From her very entrance she delighted the audience with her amazing vocals, stage presence, and hilarious charm. Another comic actor was Ian Pathak as Amos Hart, Roxie's long suffering husband, who conveyed a dim yet endearing character well. Pathak's vocals during "Mister Cellophane" were beautifully clear and tragicomic.

Kevon Thompson as Billy Flynn was charming to the last. From his first appearance he stoked the audience, had great chemistry with Mann and Pathak, and truly "razzle-dazzled" the room. Quinton Flores‘ turn as Fred Casely, Roxie's boyfriend, was hilarious. His over the top recounting during the final courtroom scene had the audience laughing excitingly.

South County's ensemble did Chicago's iconic musical numbers great justice. They gave an eerie, satirical take on the media in "They Both Reached For The Gun". Some of Thompson‘s best work in the whole show was in this number, from his self aware long note to his chuckle inducing Roxie voice, not to mention Mann‘s perfectly coordinated turn as a puppet. Chester's "When Velma Takes The Stand" was an amazing display of character. The sudden shifts she gave between frailty and razor sharp wit were a shining example of the character Velma Kelly. "Cell Block Tango" was shocking, with Shaylen Estrella giving a delightfully devilish performance as the beleaguered wife of a gum chewer. Simone Straub-Clark gave her monologue in perfect Hungarian, which drew the audience further into the fiction of the show.

The technical work masterfully accentuated the show. Projections on either side of the stage showed real footage from the 1920s, edited photos of the cast, and more symbolic representations of the show's themes that added a mystical quality to the already dazzling show. The lighting was spot on, perfectly synched with the show's many fourth wall breaking jokes.

All in all, South County's production of Chicago High School Edition was a night to remember, full of danger and spectacle.

Anjalika Chalamgari
Thomas Jefferson High School for Science and Technology
Submitted for publication to FCPS Community News

"In this town, murder's a form of entertainment." And indeed it is, as South County High School's recent production of Chicago (High School Edition) proves that even the most dastardly acts of sin provide for a vibrant and engaging performance that leaves the audience stomping along to the music.

Chicago was based off of a play written by Maurine Dallas Watkins, a journalist from the 1920's who sought to satirize the country's then-rampant fascination with homicides that were committed by women. The musical that would result was choreographed by the legendary Bob Fosse, opening on Broadway for the first time in 1975 and then for a revival in 1996. Chicago was a huge success, becoming the second longest running show on Broadway and winning numerous Tony awards. Its lasting cultural influence is evident in its numerous references in the popular media.

Chicago centers around the story of Roxy Hart, a young housewife who murders the man she's having an affair with. It follows her story into the Cooke County Jail as she attempts to clear her name and get a little more fame in the process. Shifts in plot points are spliced with exciting musical numbers, making Chicago an all around animated and entertaining story.

Hannah Chester played a brilliant Velma Kelly. Her sultry and sassy demeanor brought that 20's attitude to life, and her visible yet humorous jealousy towards Roxy induced roars of laughter from the audience. Chester's performance in "And All That Jazz" lit up the stage and really helped set the mood for the rest of the production. Billy Flynn (Kevon Thompson) was also incredibly talented. His charismatic physicality was absolutely magnetic, and his highly dynamic work in "All I Care About Is Love" left everyone in the audience believing that he was winking at them specifically. Other notable performances include that of the vivacious "Mama" Morton (Olivia Morris), who's rendition of "When You're Good To Mama" was energetic and spirited, and that of Amos Hart (Ian Pathak), who's soulful "Mr.Cellophane" prompted sympathy from everyone in attendance.

The choreography (Hannah Chester, Hannah Swim, Michelle Wyss, Shaylen Estrella, Emily Mann, Kayla Stephens, Emma Wilkie, and Marie Repczynski) was an impressive addendum to the evening. You don't see much original choreography in high school, so the fact that it was there and quite well thought-out was a pleasant surprise. The lighting (Kyndal Harrison, Justin Turner, Ella Nguyen, Myles Pelham, and Courtney Harrison) proved an integral part to the production as well, and the deft way in which each spotlight was directed really helped to bring the story to life.

Truly, South County High School's Chicago is a memorable and energetic hommage to its hugely successful Broadway counterpart. Each component of the show meshes together elegantly and vibrantly, embodying the dramatic yet comedic tale of Roxy Hart and her attempts at stardom faultlessly.
"Give ‘em an act with lots of flash in it and the reaction will be passionate." Indeed, it appears that South County has managed to razzle-dazzle us in a way that has left the audience laughing and crying all at the same time.

Mithra Dhinakaran
Thomas Jefferson High School for Science and Technology
Submitted for publication to Patch.com

It's got razzle-dazzle, swanky stars, and all that jazz! Where better to become a celebrity murderess than in 1920's Chicago? South County High School took us back to this tantalizing era in their dazzling production of Chicago (High School Edition).

With music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse, Chicago is the longest-running American musical on Broadway. Based on reporter Maurine Dallas Watkins' play about real-life criminals, the story follows two women who vie for fame after committing murder. Roxie Hart, a bored wife, and Velma Kelly, vaudeville performer, both hire the slick lawyer Billy Flynn, who promises to get them acquitted, and more importantly, on the front page. Chicago satirizes the high-flying corruption of the justice system in unforgettable numbers.

Brandishing a sultry snarl and venomous gaze, Hannah Chester mesmerized the audience as Velma Kelly. In addition to vivid expressions and gorgeous belting, she possessed dry humor that rounded off her fierce character. In "Cell Block Tango", the six merry murderesses including Velma delivered a killer performance, with sharp intonation and precise movement that created a wicked aura of power. Juxtaposed with Chester, Emily Mann as Roxie Hart had a saccharine innocence. Her dancing remained impressive throughout the show, from casual high kicks to relaxed waltz.

Kevon Thompson as Billy Flynn was all charisma. Winking at the audience and tugging his lapels, he brought a fresh take to the sleazy lawyer that instantly won over the crowd. During his longest note of the show, Thompson brazenly checked his watch, twirled around, and shrugged his shoulders, making the audience go crazy. The sweetheart of the show, Ian Pathak as Amos Hart had a wholesome presence and demonstrated stunning vocals in his solo "Mr. Cellophane." Whether it was indignant tap dance or anticlimactic exits, Pathak employed a down-to-earth stoicism that evoked plenty of sympathy for his character.

Another supporting actor with a brilliant voice, Olivia Morris nailed the tough, sassy character of Matron "Mama" Morton. Pointing a finger directly at the audience, her unbridled confidence characterized her solid performance. True to her character's name, Payton Robinson as Mary Sunshine was extraordinarily bright and bubbly. Bouncing in front of all the other reporters, she displayed an ardent enthusiasm for her role, evident in a chipper voice and earnest expression. The ensemble appeared to be engaged in every number, with generally clean dancing.

Inspired by Bob Fosse's original work, the choreography team, including Hannah Chester, Shaylen Estrella, Emily Mann, and Michelle Wyss created elegant pieces. Although the team divvied up the numbers, together, they were cohesive and true to the style of the show. The multi-level set, devised by Armin Mahmutovic, Justin Turner, Mary Ziegler, and Mikayla Park, featured bars designed to look like wrought iron and hand-painted art deco designs. With projections on the side done by Kayla Stephens, it captured the glamorous nature of the production. In addition, costumes led by Arielle Yates were glitzy and periodic, adding to the immersive feel of the show.

Brimming with talent and passion, South County High School put on a sinfully good production.

Phoebe Wiseman
Robinson Secondary School
Submitted for publication to Lorton Valley Star

"It's just a noisy hall where's there's a nightly brawl, and all that jazz." South County High School welcomes you back to the roaring twenties to tell a story of "murder, greed, corruption, violence, exploitation, adultery and treachery": Chicago (High School Edition). The musical follows the story of up-and-coming performers Roxy Hart and Velma Kelly as they attempt to get away with murder.

The musical's plot has its origins in a real story; two women acquitted of murder charges as a result of glamorization of their cases in the press. A journalist who followed the story then wrote a play based on her experiences that later became what was essentially the first-draft of the well-loved musical when it fell into the hands of choreographer, Bob Fosse.

Choreography (by Hannah Chester, Hannah Swim, Michelle Wyss, Shaylen Estrella, Emily Mann, Kayla Stephens, Emma Wilkie, and Marie Repczynski) was one of the impressive aspects of this production. Creating a unified vision among multiple minds, the dancing stayed true to the Fosse style while crafting pieces that sat comfortably in the cast's skill set.

One of South County's Chicago's defining elements is its manipulative leading ladies: Emily Mann (Roxy Hart) and Hannah Chester (Velma Kelly). Both narcissistic and cold-hearted, the nuance of creating a dichotomy between their characters is a challenging task. Mann pleasantly pulls off the all-American ingenue aspect of Hart while Chester enraptured the audience with her sultry, femme-fatale-like Velma. Both exemplary dancers pulled kicks, twirls, and leaps that "razzle-dazzled" the audience.

Some lesser-known characters especially shined in this production. Matron "Mama" Morton was embodied by the sassy, powerhouse Olivia Morris. A particularly memorable part of the show was the opening of "When You're Good to Mama". Towering upstage in an elegant pink robe, Morris glides through the first few bars before the coat is stripped away. The audience burst into laughter as they noticed the Morris step down from the block that was bolstering her height. Sleazy, big-shot lawyer Billy Flynn was portrayed by Kevon Thompson with effortless charm and charisma. Thompson elicited some of the biggest laughs of the night with his physicality and perfect comedic timing. Not to be forgotten, Ian Pathak, unlike his character, Amos Hart, was no "Mr. Cellophane". Clearly one the crowd favorites in the second act, Pathak was the source of many cries of sympathy from the crowd.

South County's tech department cannot go unrecognized. The set was awe-inspiring, staying true to the art deco style of the 1920s with impeccable detail. The costume department also displayed a great deal of research and effort. From creating beautiful, sequined flapper dresses to gray, historically accurate prison garb.

Chicago is a classic musical with many well-known productions to create easy comparisons that can easily cripple a high school production. South County stepped up to the plate and put an original spin on this story of jazz, booze, and murder.

Leydi Cris Cobo Cordon
Thomas Jefferson High School for Science and Technology
Submitted for publication to Connection

A man cheating with his wife's sister, a jealous boyfriend, an innocent woman, a man who thinks single means having six wives, incessant popping of gum, and a lost soul who found himself in the arms of other women- find out what makes a person snap in South County High School's production of Chicago (High School Edition).

Chicago is set in the 1920's, telling the tale of two female murderesses, Velma and Roxie, who attempt to use the coverage from the press to persuade the jury that they're not guilty. Maurine Dallas Watkins, a reporter from the 1920's, wrote the play Chicago based off of the popular trials of two female murderers. Then, John Kander, Fred Ebb, and Bob Fosse turned it into the Chicago that became the longest-running American musical on Broadway.

South County High School's production of Chicago was anchored by their striking choreography. Hannah Chester, Shaylen Estrella, Emily Mann, and Michelle Wyss rose to the challenge of coming up with choreography that would still be true to the nature of Chicago while still keeping it appropriate for a high school performance. "Cell Block Tango" emphasized the individuality of each of the Merry Murderesses with eye-catching poses and purposeful movements such as having some of the murderesses pretend to fire a shot in time with the pit's music.

Hannah Chester added many nuances to her portrayal of Velma Kelly, providing her own flair. She was a fantastic dancer, using her flexibility to her strength and even doing the splits. Her vocals were on point and especially captivating in "And All That Jazz." Kevon Thompson gave Billy Flynn a modern twist with his movements and had an excellent stage presence. He shined in his songs including "We Both Reached for the Gun," in which he behaved as a ventriloquist controlling Roxie.

Emily Mann did a wonderful job of portraying the sweet and charismatic Roxie Hart. Her dancing was terrific during "We Both Reached for the Gun," acting as Billy Flynn's dummy by slumping over and gesturing like a puppet. Her husband, Amos Hart, was played by Ian Pathak who captured the audience's hearts and astonished them with his clear and crisp singing during "Mister Cellophane."

The Publicity and Marketing team (Mincy Barbosa, Hannah Swim, Kayla Stephens, and Gus Cobba) came up with an extensive plan to publicize the show including organizing a photo shoot. They used these photos to create posters and fliers for the school's display case. Additionally, they used social media to their advantage, creating various promotional videos and having certain actors do Instagram takeovers of the department's account. Although they ran into some issues with copyright, since they weren't allowed to use a red and black color scheme in their show posters, they quickly and calmly resolved it by editing it to be gold instead and then replaced all the physical and digital copies. The set (created by Armin Mahmutovic, Mikayla Park, Mary Ziegler, and Justin Turner) had a special pizzaz, featuring an an arch of golden light that they created with duct tape and glitter placed over light bulbs. There were also many intricate aspects including iron detailing on the railings of the staircases leading up to a section above the arch as well as a gold and black pattern painted on the stairs.

South County's production of Chicago truly razzle-dazzled the audience with their talented cast, full of exceptional dancers, and dedicated tech departments.

Katherine Howard
Rock Ridge High School
Submitted for publication to Fairfax County Times

The name on everybody's lips... South County High School's stellar production of Chicago (High School Edition)!

With a slower start to it's Broadway reign, Chicago took the world by storm in its Broadway revival until 1997. Originally written by Fred Ebb and Bob Fosse and music by John Kander, Chicago's revival is the second longest running musical on Broadway. Following the story of Roxie Hart, Chicago tells a story of "murder, greed, corruption, violence, exploitation, adultery, and treachery." Set in the roaring 20's, Roxie Hart finds herself in jail after murdering the man she committed adultery with. While in jail, she meets the vaudevillian Velma who leeches off of her murders for fame. The two girls fight for the press's attention, finally settling for a duo act.

Playing the two charismatic murderesses, Hannah Chester (Velma Kelly) and Emily Mann (Roxie Hart) exhibited strength in both performance and chemistry with their scene partners, with classic vaudeville-esque voices to accompany the music. Mann showed a great length of talents, highlighted by her stunning dancing and physicality. Chester played the coy Velma with wit and grit with serious acting chops to back up her strong voice.

In addition to two strong female leads, the men in the show made a serious impression. Amos Hart, played by Ian Pathak has a strong character arc in the second act and surprised the audience with his soothing baritone voice with his heartbreaking solo "Mister Cellophane". Playing the role of Billy Flynn, Kevon Thompson exuded a slimy charm and played a hilarious character with an impressive and sustained vocal range. Along with these talented boys Matron "Mama" Morton, played by Olivia Morris, stole the show with her solo song "When you're good to mama" with a certain sophisticated charm that is unbelievable to be accomplished by a sophomore.

The ensemble told as much a compelling story as the principal actors, adding their own distinct character and charisma to the show. Not only was the ensemble engaging, but they exhibited a large array of dance skills and, for lack of a better term, killed every song. A standout performer that took part in this group was Payton Robinson, playing the reporter Mary Sunshine. Robinson truly spread sunshine onto a rather gloomy story, adding distinct character and bold choices whether she was dancing or playing Mary.

Not only were the actors fantastic, the technical and design elements of the show were exceptional. From the second the curtain came up the stunning 20's style set with two grand staircases centered by a light filled arch stunned the audience. On this stationary set, the choreography and direction worked seamlessly with the set to tell story with different levels and movement. With student choreographers, many may struggle to capture the iconic Fosse 20's style dance with sophistication, but South County did just that. The sheer amount of choreography needed is already a feat, but the company took it to the next level with dance for every level of discipline onstage, highlighting the trained dancers yet pushing non dancers to fit seamlessly into the ensemble. With so many dance breaks without vocalists, the orchestra was able to captivate the audience through its powerful songs and created a character in of itself that added a sense of true vaudeville to the story.

All in all, South County KILLED their production of Chicago the musical school edition, and got away with murder! Congratulations to the cast and crew who took part in putting up this exciting and provocative vaudeville musical.