Chicago
at American Heritage School

Reviewed on March 16, 2019

Nicole Sugarman
JP Taravella High School
Submitted for publication to Florida Theater On Stage

The Jazz Age. The Age of Intolerance. The Age of Wonderful Nonsense. The Roaring Twenties signified a time when marquees glared, jazz music blared, and no liquor was spared. American Heritage School's captivating production of "Chicago" stressed corruption in the 1920s criminal justice system and the sensationalization of murder as an entertainment form.

With lyrics by Fred Ebb, music by John Kander, and a book by Ebb and Bob Fosse, "Chicago" is based on a 1926 play about crime and criminals by reporter Maurine Dallas Watkins. "Chicago" depicts two fiery murderesses, Velma Kelly and Roxie Hart, as they vie for fame and stardom. Their relentless rivalry intensifies as the two murderous headliners compete for the aid and attention from their slick lawyer, Billy Flynn. Featuring choreography by Bob Fosse, the original broadway production of "Chicago" opened at the 46th Street Theatre in 1975.

Playing the seductive and sarcastic vaudeville performer, Velma Kelly, Jordyn Allen embodied the spunk and frustrations of Chicago's former "main attraction." Allen's striking confidence and bold physicality assisted in the establishment of a strong and well-developed character. Roxie Hart, the death-row murderess in search of public recognition and ultimate glory, was portrayed by Alexa Lopez. Lopez exquisitely captured Roxie's growth throughout the musical by genuinely depicting her fears, discoveries, and triumphs. Both Allen and Lopez displayed magnificent vocals and built a biting chemistry as they established a competitive relationship rooted in jealousy.

Portraying the suave lawyer with a knack for constructing celebrities out of his clientele, Billy Flynn, Frederick Bredemeyer depicted Billy's manipulation and money-making mentality through his clear characterization and clean vocals. Matron "Mama" Morton, played by Irene Newman, is the warden of the Cook County Jail with a tried and true philosophy of "reciprocity." Newman displayed chilling vocals and an air of sass and fearlessness. Playing Roxie's innocent husband, the woefully average Amos Hart, Jonah Warhaft epitomized the good nature of his character through his adorable characterization and wonderful vocals, specifically showcased in his sweet number "Mr. Cellophane."

While at times lacking some energy, the ensemble displayed incredible dance technique and polished numbers. The cast did a superb job executing the essential Fosse-style isolations, adding a sense of intrigue, seduction, and precision to the production as a whole.

The incredible orchestra maintained lively energy and a beautiful quality of sound, highlighting moments of importance throughout the show with musical dynamics. While the sound occasionally went out on some microphones, the lighting, sound, and scenery served to establish the presentational "vaudeville" essence of the show and the overall mood.

An alluring tale of murder, greed, corruption, violence, exploitation, adultery, and treachery, American Heritage School's production of "Chicago" emphasized the scandalous nature of the booming 1920s. "Chicago" captured the horrors of fame, the trials of the era, and the splendiferous circus that goes into the making of the superstar celebrity criminal. And that's show biz...kid!

Avery Anger
Marjory Stoneman Douglas High School
Submitted for publication to Florida Theater On Stage

How do you get away with murder? The answer to this age old question lies in the corrupt hands of two sensational criminals, a scheming Matron Morton, and a crooked lawyer. Ladies and gentlemen… presenting… American Heritage High School's take on the dark, yet acclaimed, musical phenomenon "Chicago."

With original choreography by Bob Fosse, roaring music by John Kander, clever book and dramatic lyrics by Fred Ebb, it's no shock that this musical masterpiece has "razzle dazzled" its way to six Tony awards and has been named the second longest-running Broadway show to date. "Chicago" follows the story of a ruthless chorus girl, Roxie Hart, who murders her lover in cold blood. After her immediate arrest, Roxie arrives at the Cook County Jail, where she meets fellow inmate Velma Kelly, a murderous celebrity criminal. Thanks to the corruption and immorals of the 1920's criminal justice system, the pressure in this satirical musical becomes immense as Velma and Roxie fight for their lives, fortune, and fame.

Jordyn Allen masterfully portrayed the devious murderess, Velma Kelly. Her infectious charisma, amplified by her wide array of lively facial expressions, allowed the energy on stage to acquire an electric quality. After Roxie, embodied by Alexa Lopez, stole Velma's beloved spotlight, Allen flawlessly executed her character's development from the cocky, deadly diva to the jealous and desperate famous wannabe. In contrast, as the other determined and diabolical diva, Lopez immaculately illustrated Roxie's overnight transition from desperate wannabe to cocky, deadly diva.The two "scintillating sinners" displayed their breathtaking vocals in their duets, "My Own Best Friend," "Nowadays," and "Hot Honey Rag." Their voices complimented each other beautifully and blended with ease, which secured and solidified the spectacular chemistry between the dynamic duo.

Depicting the overworked and overlooked husband of Roxie was Jonah Warhaft as Amos Hart. Warhaft developed a consistent and admirable character through his brilliant delivery, vocals, and stage presence; all of which were evident in his solo,"Mister Cellophane." Billy Flynn, portrayed by Frederick Bredemeyer, was quite committed to his role as the slick, crooked, and money hungry lawyer. Bredemeyer ‘s dedication to the role enhanced his superior acting skills, fluid movements on stage, and his powerful chemistry with Lopez, especially in the musical number," We Both Reached For The Gun."

Although the overall vocal volume was low for the amount of people on stage, the ensemble redeemed themselves with complex, innovative, and sensational dance numbers. The cast as a whole must be acknowledged for the impressive professional quality of the show. Flashing lights and all, the technical aspects of the show only enhanced the already professional quality. The use of dark colors greatly contributed to the overall sophisticated and eerie mood, as did magnificent set and lighting cues.

The level of talent demonstrated by the cast of this production was so professional, it should be considered a crime. The name on everybody's lips is gonna be...American Heritage School for their brilliant and inventive rendition of "Chicago."

Reese Abrahamoff
Cooper City High School
Submitted for publication to Florida Theater On Stage

"Roxie, relax. In this town, murder is a form of entertainment!" While this may have been true in the past, the students of American Heritage provided a different interpretation of entertainment in their "Razzle Dazzle" production of the hit musical, "Chicago."

Transporting us into an era of revenge and the effects of the media, "Chicago" danced its way to Broadway in 1975 and has acquired the title of the longest-running American musical. With music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse, the show was based off Maurine Dallas Watkins' 1926 play of the same name and has undergone numerous adaptations including a 2002 film which won the Academy Award for Best Picture. "Chicago" follows the story of Roxie Hart, whose intentions of stardom are more important than her sense of well-being. After murdering her secret lover, tensions arise, individuals are tested, and characters are faced with decisions that could change their lives forever.

As pretty as she is self-centered, Roxie Hart was remarkably played by Alexa Lopez. With stunning vocals and clear character development, Lopez was able to show that although her search for fame and glory were relentless, her character's selfishness was not exactly what prompted her fall from integrity. Portraying the fierce vaudeville performer Velma Kelly, Jordyn Allen delivered a truly vigorous performance full of intensity and soul that never faltered throughout the duration of the show. The dynamics between Allen and Lopez were extraordinary to a point where the heated rivalry between the characters seemed both realistic and sincere. Frederick Bredemeyer played the role of Billy Flynn, the manipulative and devious lawyer who Velma and Roxie hired to represent their murder cases. His phenomenal stage presence and charismatic nature contributed to his character's mischievous persona that was always consistent.

Although Amos Hart may be seen as invisible by society, his portrayal by Jonah Warhaft went anything but unnoticed. From the moment he entered, Warhaft never failed to capture the audience's interest, especially in his solo, "Mister Cellophane," which left them completely invested in his heart-wrenching reality of always being looked down upon. An additional standout was Irene Newman (Matron "Mama" Morton) whose vocal prowess and mature physicality contributed to her character's representation of how flawed the justice system really is.

The ensemble was nothing less than brilliant. Although at points there was a lack of facial expressions and energy in certain dance numbers, the ensemble as a whole remained focused and synchronized allowing for a fascinating performance. Technically speaking, the Pit Orchestra exceeded all expectations for high school talent. Despite some technical faults with the microphones, the students made clear adjustments in regards to their volume rather than simply playing through it, and for that, they should be commended. The stage management team also excelled as each cue was smooth and had perfect transitions.

Bob Fosse once said, "Live like you'll die tomorrow, work like you don't need the money, and dance like nobody's watching," and the cast and crew of "Chicago" at American Heritage did just that. Upon the curtain closing to a standing ovation, the audience was left with one thought, "If you'd have been there, if you'd have seen it, I betcha you would have done the same."

Jaime Happel
JP Taravella High School
Submitted for publication to Florida Theater On Stage

When you're trapped in one of the world's most illustrious cities where people can walk right by you and never even know you're there, it's easy to vie for attention. Headlines are always changing and if you don't give ‘em the ol' razzle-dazzle, your stardom is sure to fade away. Those are the grounds for American Heritage School Center for the Arts' "Chicago"— "a story of murder, greed, corruption, violence, exploitation, adultery, and treachery."

Chicago peers into the intriguing lives of celebrity criminals as based on true events reported by Maurine Dallas Watkins in her play of the same name. The vaudeville style musical features music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse. Originally starring Gwen Verdon and Chita Rivera, Chicago premiered on Broadway at the 46th Street Theatre in 1975. The 1996 revival was much more successful, as it took six Drama Desk Awards and Tony Awards into its custody and inspired a film adaptation.

Alexa Lopez portrayed the beautiful and ever-cunning Roxie Hart. As the show progressed, Lopez gradually transformed from an immature young woman to an egotistical miscreant who craves notoriety. Accompanying Lopez's outstanding character development, were her rich, melodious vocals. Velma Kelly, depicted by Jordyn Allen, is Roxie's fierce criminal competitor. Allen's bold physicality, sarcasm, and tough disposition showcased her strong understanding of the character. The two murderesses dream of vaudeville and quickly become tied up with the idea of fame, despite the corruption it may expose them to.

To help them reap the benefits of, what they believe to be, their well-deserved glory, the women hire the best soliciting lawyer in Chicago, Billy Flynn (Frederick Bredemeyer). Bredemeyer discovered an incredible level of comfort onstage, which allowed him to successfully encompass the pretentious, suave manipulator with charm and appealing confidence. Irene Newman's deep sultry voice and collected composure abetted her characterization of the Cook County Jail's deceitful warden, Matron "Mama" Morton, another one of the women's allies. Jonah Warhaft authentically portrayed Roxie's devoted, "Funny Hunny" husband, Amos Hart. Warhaft vulnerably represented the only character with selfless motives by constantly tugging at the audience's heartstrings, most notably in his endearing solo, "Mister Cellophane."

While energy levels were sometimes inconsistent, the ensemble's sharp isolations, intricate formations, and clean execution captured the essence of Fosse's challenging choreography style. Euphonious harmonies were produced with evident emphasis on vocal dynamics; however, diction and projection were lacking at times. Although technically, sound faced microphone difficulties, the orchestra impressively adjusted to the needs of the performers. Key and featured moments were prominently highlighted with smooth light cues and were additionally elevated on the towering black set, complete with jail-cell-like bars and the names Roxie, Velma, and Chicago in lights.

People will do anything to change a world of "no" into a world of "yes," and it's not always about playing square. American Heritage School Center for the Arts is unafraid to cue up the exit music on anyone who can't keep up with the corrupt greatness and grandness of life "Nowadays." "And that's showbiz… kid."

Madeline Finkelman
North Broward Preparatory School
Submitted for publication to Florida Theater On Stage

Welcome to 1920's Chicago where the glitzy veneer of vaudeville disguises the deplorable seediness of sinners and their sins. With remarkable razzle, delightful dazzle and a cast that makes you root for murders and manipulators, American Heritage School's production of Chicago danced stylishly and salaciously through a story of corruption, greed and all that jazz.

Chicago opened on Broadway in 1975 with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse, who also choreographed. The show was revived in 1996 and is the second longest running show in Broadway history. Chicago tells the story of two dueling divas - Velma Kelly and Roxie Hart- who, after committing crimes of passion, find themselves behind bars. They each experience their moments as "the name on everyone's lips", but with the fickle nature of fame, learn how hard it is to stay there.

The vivacious vaudevillian Velma Kelly was commandingly brought to the stage by Jordyn Allen. With compelling characterization and a fierce persona, Allen added intensity and intrigue to Velma's story, infusing her performance with magnetic maturity. Alexa Lopez excellently portrayed the cloying and conniving wannabe Roxie Hart. With a beautiful vocal quality, Lopez ably embodied her character's turbulent journey from anonymity to notoriety and back again. Allen and Lopez artfully created clear contrasts between the two murderesses, making their conflict and competition feel powerfully palpable. Inserting himself into the three-ring circus of their lives was money hungry lover-of-love Billy Flynn, brought to life by Frederick Bredemeyer. Bredemeyer created a charming yet contemptible character, best displaying Billy's puppeteering pompousness in the song "We Both Reached For the Gun".

Let's not forget about Andy! I mean, Amos Hart, sincerely and sweetly portrayed by Jonah Warhaft. While Amos's sad-sack doormat of a character was overlooked by the world, Warhaft created a performance that could not be ignored. Capturing some of the nights most genuine and gut-wrenching moments, Warhaft wowed in his song "Mr. Cellophane". As the corrupt yet caring jail warden Matron "Mama" Morton, Irene Newman's powerhouse vocals and bold bearing on stage were both striking and skillful.

The ensemble of dancers added a dark yet dazzling effect to the show, performing the Fosse-esque choreography as if it was wordless dialogue. Standouts among them were Israel Del Rosario and Madison Flanagan. Every foot slide and toe tap propelled the story with style and substance. Another notable performance was that of Michael Guarasci as Roxie's doomed lover Fred Casely. Even after his death, Guarasci's incredible intensity and unending energy gave the show life.

The show's technical elements enhanced and enriched every moment. The student orchestra was a highlight, making the production feel like a true night at the cabaret. The pit showed professionalism and prowess, adjusting their volume when an actor's mic didn't work. With a stunning yet stationery set, lighting was instrumental in defining the scenes, constantly and consistently highlighting mood and movement. Even small microphone glitches could not dampen the overall seamlessness and harmony of the production.

From the tantalizing trombone opening, to the fringe-filled finale, the audience sure had it comin'. In a musical journey illustrating the fine line between fame and infamy, the cast and crew of Chicago executed a show worthy of having its name up in lights.