Chicago: Teen Edition

The Theatre Lab’s Musical Theatre Institute for Teens

Photo credits: Ryan Maxwell Photography

Welcome to Chicago. 

In this scandal-soaked jewel of the 1920s, all it takes to get away with murder is a touch of the ol’ razzle dazzle.

Teens of the The Theatre Lab’s Musical Theatre Institute oozed with glamour in their latest production of Chicago: Teen Edition at the Atlas Performing Arts Center. With crisp choreography and croony vocals, they transported audiences to the sultry, jazzy scene of a roaring nightclub. 

Rolling haze, wailing trombones, iconic choreography… what more could you ask for?

Chicago

Before it became a hit musical, Chicago originated as a satirical play. 1920s reporter Maurine Dallas Watkins covered trials at the Cook County Jail for the Chicago Tribune, and after witnessing the media spectacles put on by accused criminals, turned her real-life observances into a written work. 

Yeah, the people were still clout-chasing a century ago. It’s in our blood.

About 50 years later, composer-lyricist team Kander and Ebb decided to mount Watkins’s cynical play into a vaudeville-style musical. Teaming up with choreographer legend Bob Fosse, Kander and Ebb’s Chicago hit Broadway in 1975 and ran for 936 performances. 

It wasn’t until the show’s 1996 revival, however, that Chicago would cement itself as a record-breaking hit. Not only did the revival earn 6 Tony Awards (the original was completely snubbed by A Chorus Line), but the show continues to run to this day, making it the longest-running revival in Broadway history.

Not to mention the 2002 movie adaptation, which won an Academy Award and inspired the 2000s surge of movie musicals! (Rent, Mamma Mia, Hairspray, Dreamgirls… it was like a theatre kid renaissance). 

The story follows chorus girl Roxie Hart, who murders her lover and winds up in the Cook County Jail opposite vaudeville star and murderess Velma Kelly. Desperate for acquittal and fame, the women both hire slick-talking lawyer Billy Flynn and compete in a fierce battle for the public spotlight. 

Even if you’re unfamiliar with Chicago, I’m sure you’ve seen a rendition of “Cell Block Tango.” Either you’ve watched the Broadway miscast version starring the likes of Jeremy Jordan and Ben Platt, or perhaps the misguided rendition featured in Glee, or even the tribute during this year’s Jimmy’s medley. Regardless, the song’s a banger. It’s dark and cynical with a girl-power twist: the perfect introduction to the show.

This Production

Theatre Lab’s production was approached as any production of Chicago should be, with the pit taking up the back half of the stage. Boy, oh boy, do I love an onstage pit! Thanks to Lucia LaNave’s skillful music direction, this pit was incredibly in tune with not only each other, but with the jazzy, expressive nature of Chicago. Their passion, coupled with Evan Casey’s direction, brought the Roaring 20s to life.

Other than the pit, the stage was bare for a great deal of the show, although wooden tables and chairs would occasionally fill in the scenery of a nightclub. Theatre Lab understood that Chicago shines when it adopts a minimalistic set, so they primarily created atmosphere with Ben Harvey’s cinematic lighting and haze. The dancers become the main focus, cloaked in the darkness and fog of a city street. 

Maya Nellum’s intoxicating choreography stood at the core of this production, rightfully honoring the style of Bob Fosse with its sharp silhouettes and abundance of jazz hands. The entire ensemble danced in impressive synchrony--especially considering they only had 3 and a half weeks to perfect this show’s monstrous musical numbers--yet each performer added unique character to their respective moments. From re-enacting the confrontations in “Cell Block Tango” to gathering their own angle on Roxie’s case in “They Both Reached for the Gun,” every ensemble member was integral to the storytelling.

Opening the performance was Mayumi Gant, who slowly descended a staircase as the cool, collected Velma Kelly. Every movement was slow, deliberate, and controlled as Gant commanded the audience’s attention in “All That Jazz,” effectively setting the tone of this production. Gant adopted a dry, sarcastic demeanor all throughout, expertly contrasting Molly Egorin’s bubbly Roxie Hart, whose lip pouts and fluttering eyelashes were straight out of a cartoon. The two were often bubbling with contempt for one another, which led to an especially celebratory reconciliation and performance of “Hot Honey Rag.”

Honestly, every performer deserves a round of applause for never once dropping the energy! There was so much meticulous choreography atop the powerful ensemble vocals. “Cell Block Tango” especially comes to mind, which had a feisty ending from the whole company.

Juxtaposing the feminine rage was Jesse Kliman’s charismatic Billy Flynn. With a plastered grin and the rich, textured baritone of a 1920s crooner, Kliman lulled the audience into a false sense of security in “All I Care About is Love.” Just one number later, he transformed Egorin into an impressively manic puppet for “We Both Reached for the Gun,” yet never dropped his effortless poise and winning smile. 

Other standouts include Bianca George’s brassy, compelling Matron “Mama” Morton and Ghost Collins’s bright-eyed, soaring soprano as Mary Sunsine. Each performer imbued undeniable character into their standout moments, and crafted some of the show’s most unforgettable performances. 

Did I say unforgettable? I think I’m missing someone.

Oh, yes!

Cameron Best delivered a fan-favorite performance as the well-meaning yet invisible Amos Hart, rounding out the cast with incredibly-timed comedic chops.

Who is it for?

Chicago isn’t just for dancers or lovers of the roaring 20s (though it certainly still is!), it’s for anyone wanting to sink their teeth into a jazzy, cynical satire of the media and public eye as a whole. 

I was honestly fascinated by how much of the commentary in Chicago carries over to today, and has been amplified by the rise of social media. No person can capture the public’s attention forever; the media will always be drawn to the newest, hottest controversy (or criminal) on the market. There’s no one you can depend on in a media-centric world, except each other. 

Plus, Chicago is such a fantastic, stylized piece of Broadway history. 

Atlas Performing Arts Center recommends the production for ages 13 and up; I’d agree, but argue that a mature 10-12 year old wouldn’t have a problem with the show. Considering Theatre Lab put on Chicago: Teen Edition, the raunchiest this production gets is some onstage gunshots and an empty noose that drops from the ceiling. There aren’t any overt sexual references, and a few songs have been cut from the full version, which helps the show keep a quick pace.

Chicago: Teen Edition runs tonight, August 7th, and for two more performances tomorrow, August 8th, so be sure to grab tickets at https://www.atlasarts.org/events/the-theatre-lab-chicago/.

Visit theatrelab.org for more information about Theatre Lab’s all-ages programming.