Reviews: Chicago: Teen Edition at Thomas A. Edison High School
Written by Madelyn Regan of Centreville High School
Murder, scandal, and two leading ladies at each other's throats for the spotlight--what better framework for a vaudeville act? Straight from the Cook County Jail, Thomas A. Edison High School's cast and crew of "Chicago: Teen Edition" razzle-dazzled 'em with glitz, glamour, and a dash of crime.
With a 2002 film adaptation and long-running 1996 Broadway revival, Kander and Ebb's "Chicago" has been dazzling audiences since 1975. Lights up on Velma Kelly: vaudeville star and accused murderess, who spends her days waiting for trial at the Cook County Jail. Now, enter Roxie Hart: fresh to the block and just as accused, who can't help but yearn for the world to know her name. Under the scheming eyes of lawyer Billy Flynn, the two find themselves swept into a media circus, all while awaiting conviction for their ruthless crimes.
Nicoletta Theodora Pelekasis strapped on the high-heeled shoes of Velma Kelly and took center stage with utter command. Whether it was a sky-high kick or a tasteful shoulder shrug, every one of Pelekasis's movements was sultry and deliberate. Toe-to-toe with Korina Horvat's doe-eyed Roxie Hart, the pair became immediate frenemies. Despite beginning the show hilariously at odds, they ended in a captivating performance of the "Hot Honey Rag;" a dance number that celebrated their reconciliation with one another.
In the role of lawyer Billy Flynn, Jackson Byrd donned a persona as slick as his pink suit jacket. Though he strode onto the scene with a charming air, claiming "All I Care About" is love, it wasn't long before the lawyer revealed his true colors. Behind the radiant smile and buttery vocals, Byrd transformed into a gleefully Machiavellian puppeteer: in a riveting rendition of "We Both Reached for the Gun," he flung Horvat around like a marionette. Meanwhile, Mateus Garbaliauskas stole the audience's hearts (or "harts," one might say) in the role of Amos Hart. With sad eyes and a droopy demeanor, Garbaliauskas' comically defeated performance of "Mister Cellophane" became an instant crowd favorite.
For the first time since 2018, Thomas A. Edison HS accompanied their production with a live pit orchestra. Deemed the "Jail Bird Jazzers," the pit embodied a lively nightclub atmosphere and perfectly tailored their sound to Kander and Ebb's dark score. In front of the orchestra was a ghostly series of spotlights, courtesy of Malyha Bashar and Arcadia Perszyk's brilliant lighting design. Coupled with glowing bulbs that lined the stage, each perfectly timed spotlight packed a punch; edgy numbers like "Cell Block Tango" became shockingly sinister, thanks to the reduction of lights in tense moments timed with orchestra hits. Complete with Zoey Hewton's dynamic, Fosse-inspired choreography, the audience was transported to the clandestine world of the 1920s.
It might be easier for a star to get away with murder than to set aside her differences, and yet the cast of Thomas A. Edison's "Chicago" managed to achieve both. As Roxie and Velma finished their final flourish with a smile, it was clear: a performance this good was downright criminal.
Written by Elsa Harlor of Our Lady of Good Counsel High School
Slick your hair, wear your buckled shoes, and get ready for a jazzy romp full of cons, crime, and cunning murderesses! With flashy numbers and vaudevillian charm, Thomas A. Edison High School embraces the tongue-in-cheek boldness of Chicago: Teen Edition.
Based on a 1926 play of the same name by Maurine Dallas Watkins, Chicago's musical adaptation took Broadway by storm in 1975, with music and lyrics by John Kander and Fred Ebb, and choreography by the unforgettable Bob Fosse. Since 1975, Chicago was revived on Broadway in 1996 and now stands as the longest-running American musical revival in Broadway history. After the award-winning film adaptation in 2002, the Teen Edition became available in 2019. Chicago tells the story of greed, corruption, and hunger for fame (based on a true story!) in a fast-paced world in which journalists constantly chase the next biggest story. The heroines (or anti-heroines) Roxie Hart and Velma Kelly navigate the chase for fame, personal versus actual justice, and the dynamic nature of infamy.
With a perfect blend of cat-like fluidity and star power, Nicoletta Theodora Pelekasis's Velma Kelly exuded pure confidence, immediately capturing the audience's eyes from the opening number. Her broad, full voice blended magnificently with Roxie Hart, mischievously played by Korina Horvat. The duo balanced and complemented each other exceptionally well, from their heart-rending duet "My Own Best Friend" to their lively social criticism in "Nowadays". Pelekasis's expert dancing paired with Horvat's sweet voice made it a delight to witness their characters' descents into desperation and, finally, unity. Velma and Roxie's seedy lawyer, Billy Flynn, was played with a perfect blend of haughtiness and duende by Jackson Byrd. Byrd's magnetic charm, apt comedic timing, and soaring vocals were evident in standout numbers such as "All I Care About" and "We Both Reached for The Gun".
A prison full of merry murderesses requires an iron-fisted matron, and Matron "Mama" Morton (Adriana Castillo) lends grit, maturity, and wittiness to "When You're Good to Mama", her ode to reveling in corruption. Conversely, Amos Hart, played by Mateus Garbaliauskas, provided an earnest sincerity, especially through his heart-wrenching rendition of "Mr. Cellophane". The Merry Murderesses of Murderers' Row (Ella Bernier, Amaris Heeg, Emily Robbins, Tara West, and Moira Paz Pasa) performed with an electric pull and intrepidity, evident in their synchronized leadership of the ensemble, and especially so in the iconic "Cell Block Tango", which simultaneously mesmerized and intrigued.
Nicoletta Theodora Pelekasis, Elizabeth Ahl, and Sabrina Binetti brought the distinctive style of 1920s hair and makeup style to life, with befitting cultural references and inspirations, such as Jean Harlow for Roxie's look, and Bebe Neuwirth-esque styles for Velma. The ensemble was highly coordinated in sleek hairstyles and red lips, which constructed a fluid, consistent image. Tara West, Cricket Lammers, and the Thomas A. Edison Costume Crew heightened this consistent image with sleek black numbers, which concurrently unified and distinguished the ensemble, with details like patterned tights differentiating dancers. Alex Lammers and the Jail Bird Jazzers comprised the on-stage orchestra which, combined with traditional floor lights and an iconic Chicago sign (courtesy of Malyha Bashar, Arcadia Perszyk, Anton Weiser, and Bryon Pinkney) enhanced the alluring jazz club mood.
Fit with extravagance and sleek style that transcends the roots of crime and corruption, Thomas A. Edison High School's production of Chicago: Teen Edition gave us the old razzle dazzle, with a vibrant rendition of a timeless satire.