Chicago: Teen Edition
at North Broward Preparatory School

Reviewed on October 15, 2022

Zoe Tibbs
Calvary Christian Academy
Submitted for publication to www.floridatheateronstage.com

After an extensive amount of fosse kicks, continuously striking vocals, and larger-than-life animation, a verdict has been determined: the court declares North Broward Preparatory School guilty of performing an outstanding rendition of "Chicago: Teen Edition." The question remains, who made this show so great?

This immensely stylized musical was crafted by John Kander, Fred Ebb, and Chicagoan: Bob Fosse. After premiering on 46th Street Theatre in 1975, "Chicago" has completed over 10,000 performances, making it the second most-performed show in Broadway history. Soon enough, it was adapted into "Chicago: Teen Edition," creating opportunities for young actors worldwide to "razzle-dazzle." Set in the Roaring Twenties, this headlining story follows Roxie Hart as she turns heart-stopping crimes into show-stopping magic.

First up to the stand: Chicago's own killer-dillers, Velma Kelly and Roxie Hart. Making her second North Broward Preparatory Theatre Department appearance, Julia Romero was breathtaking as Velma. From her first note in "And All That Jazz" to the last in "Finale," Romero's booming voice and unique characterization were impeccable. Alongside her, Abigail Alder was a star as Roxie, and the audience loved her, and she must've loved the audience for loving her. With Alder's expressions, animation, and comedic timing, she was undeniably "Funny Honey."

Next to the stand is Adam Fournel as Andy...or was it Alex? No, it was definitely Amos. While portraying Amos, Fournel expressed touching emotion through his voice and physicalities. His character development was profound from start to finish, most noticeably seen through his rendition of "Mister Cellophane." Another great performer in this show was Rachael Toledano. Playing Matron Mama Morton, Toledano's elegance and strong vocals were highly commendable. Mama didn't just do good; she did astounding.

Perhaps it was the Six Merry Murderesses that made this show exemplary. With distinct characters, fierce physicalities, and clear facial expressions, the six actresses made songs such as "Cell Block Tango" a joy to watch. A standout amongst the crowd, Ally Babincak was a brilliant Mona. Mona may have had artistic differences from her husband, but Babincak's artistic choices matched the essence of her character perfectly.

Of course, the culprits very well could be found within the stage and technical crews. Led by Morgan Wilder, the amount of attention to detail put forth by the costume crew was impressive. Minor details such as the hole in the back of Roxie's dress during "We Both Reached For The Gun" did not go unnoticed. Likewise, the organization and efficiency offered by the stage management crew were noteworthy, having organized each and every little detail. Even though some teams did experience technical difficulties, they persevered and helped put on a lively performance.

The case has been solved. The cast and crew as a whole are who made this show so great. Brimming with energy, strong vocals, and talented dancing, North Broward Preparatory School's production of "Chicago: Teen Edition" was extraordinary.

Jack Steinman
NSU University School
Submitted for publication to www.floridatheateronstage.com

In a world of manipulation, fame, and murder, "Chicago: Teen Edition" poses the notorious question: would you rather be innocent or infamous?

With music composed by John Kander, and lyrics from Fred Ebb, "Chicago" is set at the height of jazz and liquor in the 1920s. Told through a compelling vaudeville frame, the musical follows the newly imprisoned Roxie Hart, who dethrones the Cook County Jail queen, Velma Kelly, gaining the expertise of lawyer Billy Flynn. Roxie is shown the reins of prison by Matron "Mama" Morton, under the watchful eye of a jealous and now outcast Velma. The production opened on Broadway in 1975. Adding his stylistic flair, Fosse choreographed the production before closing in 1977. The show was revived in 1996, and is still the second longest-running show on Broadway. The 2002 film adaptation was highly praised, garnering six Academy Awards and three Golden Globes.

Two devious killers, powerhouse dancers, and mesmerizing vocalists, Julia Romero (Velma Kelly) and Abigail Alder (Roxie Hart) breathed new life into iconic characters, lighting up the stage with their dynamic. Abigail Alder made "a scandal and a start," with impeccable timing, phenomenal dedication, and entertaining expressions, Alder's character blossomed as she found her fame. No star is complete without an enemy, but what if the enemy is also a star? From the first whine of the trombone, Julia Romero as Velma wowed the audience with her incredible triple threat ability, especially in "And All That Jazz." The Act One finale, "My Own Best Friend," flaunted both Alder and Romero's vocals and desperation to be seen (and seen they were).

As ringleaders of the Circus Vaudeville, Matthew Feinstein (Billy Flynn) and Rachael Toledano (Matron "Mama" Morton) dominated the stage. As "B-I-double-L-Y," Feinstein demonstrated powerfully rich vocals, particularly showcased in "We Both Reached for the Gun." His suave charm is to be applauded, translating in both musical numbers and scenes. Rachael Toledano's portrayal of "Mama" Morton is to be commended for her bold tone and motherly compassion. Toledano had notable chemistry with both Roxie and Velma.

Although at times faltering in the energy of musical numbers, the ensemble aided in creating razzle-dazzling pictures onstage, especially in "Cell Block Tango." Technically, the production stuck to the 1920s with its use of costumes, wigs, and props. Despite minor microphone issues, the sound blended harmoniously between the live orchestra and cast. Marketing and Publicity by Chantal Mann and Abigail Alder created newspaper-style Instagram posts, because no news in Chicago goes unnoticed by the press!

With an amazing performance, North Broward Preparatory School's production of "Chicago: Teen Edition" left the audience clapping until the curtain closed, "And I betcha you would've done the same!"

Taylor Skolnick
Coral Springs High School
Submitted for publication to www.floridatheateronstage.com

Come on babe, why don't we paint the Township? And all that jazz! North Broward Preparatory School's production of "Chicago" was a breathtaking show filled with catchy songs, unforgettable dance numbers, and murderous mistresses.

This show first appeared on Broadway in 1975, but closed in 1977. However, due to popular demand, the show reopened in 1996 and has been thriving since. Based on the 1924 trial of murderesses Beulah Annan and Belva Gaertner, this show tells the story of Roxie Hart, a desperate Vaudeville star who would do whatever it takes to make herself famous. After getting arrested for murdering her lover, she gets sent to Cook County Jail. Here she meets the avaricious lawyer Billy Flynn and fellow murderess Velma Kelly. Throughout the show, Roxie and Velma battle for the attention of newspaper reporters, continuously attempting to outdo each other.

Abigail Alder played the starring woman herself, Roxie Hart. Her bold and animated facial expressions kept the audience hooked and constantly entertained. Every other line that came out of Alder's mouth had the audience roaring with laughter. The lovable murderess, Velma Kelly, was played by Julia Romero. Romero's ability to hit all her notes effortlessly right after major dance numbers was incredibly impressive. Both Alder and Romero were fully committed to their roles and never appeared to be out of character.

Matthew Feinstein played the master manipulator, Billy Flynn. Feinstein's vocal performance was sensational and left the audience with chills. Fred (Michael Norman) and Mary Sunshine (Makayla Whelchel) both added a lot to the show with their fabulous comedic timing. The ensemble featured many talented dancers, though there were certain points where facial expressions were lost due to intense concentration. Certain ensemble members, such as Ally Babincak and Jay Boegem, were always going full out and keeping the audience amused.

One of the main numbers that stood out from the rest was "All That Jazz." As the opening number of the musical, it got the audience hyped for the show ahead. The dance moves were sharp, and the entire cast had very high energy. Another standout song was "We Both Reached for the Gun." The hilarious choreography and commitment to the number had the audience laughing nonstop.

The technical elements enabled the show to be truly spectacular. There was a large range of costumes, and it was very apparent that the costume crew paid close attention to finer details. For example, Adam Fournel (Amos Hart) was seen to be wearing a patched-up suit in the second act, which demonstrated his declining financial status. The hair and makeup crew did a brilliant job in establishing the time period of the show; however, the inconsistency of the ensemble's wigs was slightly distracting.

North Broward Preparatory School's production of "Chicago" did a stunning job at transporting the audience back into the jazz age. The talented cast certainly left the audience wishing that they had more coming.

Jacob Harris
Marjory Stoneman Douglas HS
Submitted for publication to www.floridatheateronstage.com

Murder: a crime to the innocent, an art to the guilty. This philosophy has guided devious culprits home to the infamous Cook County Jail, the residence of the malicious murderesses in the heart of Chicago! All people "care about" is to assume the front page of the paper, and though one daunting deed could end your chances for good, your story could suddenly become the headline of society! Take a seat in the jury of North Broward Preparatory School's production of "Chicago: Teen Edition" to determine this verdict: who really had it coming?

With Music and Lyrics by John Kander and Fred Ebb, "Chicago" first premiered on Broadway in 1975, prior to its 1996 Broadway revival which received various Tony Awards, including Best Revival of a Musical. Follow Roxie Hart - the newly fashioned murderess of this Vaudeville spectacular - and see her journey to become the most sensationally claimed convict Chicago has ever seen! But envy ensues as the scandalous Velma Kelly witnesses Roxie's greatest attributes. To get her reputation to "rock Chicago," Roxie must acquire Billy Flynn, the laudable lawyer who is her only possible chance to be framed innocent.

Abigail Alder embodied the iconic Roxie Hart with clear charisma; Alder's undeniable stage presence and characterizations were flawless. Within her solo, "Roxie," Alder's vocals and comic relief suited the nature of this animated felon. Julia Romero portrayed the captivating Velma Kelly. Her powerhouse voice encompassed maturity and her execution of the choreography was spectacular. Romero's performance of "And All That Jazz" boldly opened up the musical with a Fosse flair. Together, Alder and Romero's performance of "My Own Best Friend" was harmonized beautifully.

Depicting the charming lawyer, Billy Flynn, Matthew Feinstein displayed commitment and authority. Feinstein expressed his fame and glory as he sang with ease. His astounding vocals within "We Both Reached for the Gun" were commendable. Adam Fournel rendered Roxie's dedicated husband, Amos Hart. Fournel's performance of "Mister Cellophane" presented his voice gracefully.

The Six Merry Murderesses exhibited contrasting personalities which all dazzled within "Cell Block Tango." Their various personalities were defined and their presentation of the choreography was exceptional. Ally Babincak's performance as the murderess, Mona, was enticing; Babincak's energy remained sustained and consistent.

The technical elements of the production encapsulated the essence of the musical. The costumes, organized by Morgan Wilder, authentically characterized each performer through appropriate styles of the period, while connecting cohesively. The publicity team - Chantal Mann and Abigail Alder - utilized various publicizing techniques, for instance social media updates and ticket giveaways. Their poster design intricately reflected the presence of the student performers and the style of the musical.

Guilty or not guilty, your "get out of jail card" may be your ticket out, but is it worth it? You gain freedom, leaving behind what once was your identity. The verdict is in: North Broward Preparatory School's vivacious performance of "Chicago: Teen Edition" certainly painted the town with a "pop" of bright red!

Sydney Lotz
Marjory Stoneman Douglas HS
Submitted for publication to www.floridatheateronstage.com

Breaking News: The show on everybody's lips is gonna be..."Chicago: Teen Edition." Filled with love, murder, fame, "And All That Jazz," North Broward Preparatory School's production of "Chicago: Teen Edition" gives us the inside scoop of the secrets that lie beneath the stars of the Cook County Jail.

"Chicago," a 1920s inspired vaudeville musical with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse, made its Broadway debut in 1975. It then made its West End debut in 1979 and returned to Broadway in 1996, making it the second longest-running Broadway musical. Winding up in prison alongside legend Velma Kelly, Roxie Hart is sent to the Cook County Jail after murdering her secret lover. In court, Velma and Roxie engage in a struggle for survival as well as competing for fame and fortune.

Abigail Alder took on the challenge of Roxie Hart and exceeded expectations. She captivated the audience through breathtaking vocals, illustrious stage presence, and animated, lively expressions in numbers such as, "We Both Reached for the Gun." Alder embraced Hart's ignorance through strong character commitment and convincing chemistry with various counterparts such as Velma Kelly. Velma Kelly, the biggest star in Cook County Jail, happened to be portrayed by an equally big star, Julia Romero. Alongside Alder, Romero balanced advanced vocal ability, while maintaining high energy in heavy dance numbers. Her expressive reactions and comedic timing elevated this production overall. Both Alder and Romero expressed individuality, yet cohesion in the show stopping number, "My Own Best Friend."

"All I Care About" is Matthew Feinstein, and his charismatic performance as the master manipulator, Billy Flynn. Feinstein exuded confidence and dynamic energy throughout the entirety of his performance. He also proved expansive vocal skills and impressive character range. Feinstein took on this vigorous task with such ease, enchanting the audience. Adam Fournel (Amos Hart) gained the world's sympathy through impressive character development and delivery. He stood out in the heartwarming song "Mister Cellophane," winning over the audience's love and compassion through detailed movements and unique characterization.

Although at times lacking character and energy, the ensemble performed intricate movements with jubilation, executing this complex style with grace. Most notably, performers such as Michael Norman, Ally Babincak, and Jay Boegem lit up the stage with captivating expressions, and incessant stamina. They cannot go without being commended, as their contributions brought this show to life, strikingly in numbers such as "And All That Jazz."

The show's technical components helped create a variety of emotions. The costumes, designed by Morgan Wilder, took a modern spin on this classic, yet were detailed and precise to the time period. Contrasting colors aided the characters' individuality and complemented each other well. In addition, the publicity team including Chantal Mann and Abigail Alder did an outstanding job capturing the show in their artwork. The realistic playbill design portrays each character's essence and physicality.

Through sharp isolations and characterization, the cast of North Broward Preparatory School's production of "Chicago: Teen Edition," gave the audience that old "Razzle Dazzle."