Chicago: Teen Edition

Last week, our Senior School students lit up the stage with Chicago: Teen Edition, delivering four spectacular performances from Wednesday to Saturday. The show was a fantastic celebration of talent, hard work, and teamwork, bringing this iconic story of ambition, fame, and media manipulation to life.

Set in 1920s Chicago, the musical follows Roxie Hart, an aspiring performer caught in a whirlwind of crime and courtroom drama. With sharp humour and unforgettable songs, it is a story about the power of the media and the pursuit of the spotlight – topics that feel as relevant today as they did nearly a century ago.

The cast and crew worked tirelessly to deliver show-stopping performances, from the incredible acting and singing to the choreography and live music.

We are so proud of everyone who made Chicago such a roaring success!

 

Behind The Curtains of Chicago

Discover what it took to bring this iconic show to life. Read our interviews with cast and crew as they share their favourite moments, biggest challenges, and behind-the-scenes stories.

Director - Kerry Robinson
Musical Director - Abigail Bryans
  1. Why did you choose Chicago for this year’s production?
    I have always wanted to direct this wonderful show as Kander and Ebb are my favourite, second to Sondheim of course! The full Broadway version is not suitable for a school so I was delighted when the Teen version became available a few years ago. However I waited until we were fully co-ed as I knew I needed to have just as many girls as boys in the show.
  2. What do you hope the students and the audience take away from this show?
    I hope that the students involved in the cast, crew and band all enjoy being part of an ensemble working together and the audience can see that in the professionalism of the production values.
  3. What has been the most rewarding part of directing Chicago?
    Working on the musical every year is extremely rewarding as we work as a collaborative team with our fantastic theatre technicians, the music department, incredible wardrobe volunteers and Shermaine our external professional choreographer. This year we were also joined by the wonderful Ms Hughes from Maths who assisted with all of the chorus scenes and the late night dance rehearsals which are a highlight of the week for everyone.
  4. How did you approach balancing the show’s themes of justice, fame, and morality in this production?
    Chicago is a dazzling and satirical look at fame, justice, and the media machine. Maurine Dallas Watkins’s 1926 play Chicago, the source material for the musical, is a prescient satire depicting how the press, in collusion with the Americal criminal justice, turns criminals into celebrities. We often discussed how Roxie’s story is as relevant now as it was nearly 100 years ago when exploring the motivations of the characters in rehearsals. We agreed that they are all rather despicable as characters and took quite a Brechtian approach to characterisation which fits the episodic structure of the show. The only exceptions are poor Katalina, the innocent immigrant character who no one understands and Amos who is cruelly manipulated by everyone.
  5. What has been your proudest moment during the rehearsal process?
    I think I am most proud of the way that the students have learnt the Fosse style choreography which is the most challenging that we have had since West Side Story in 2013.
  1. Chicago has such an iconic score. What was your vision for bringing the music to life in this production?
    As you say, with such an iconic score, I knew that the students in the band and cast would have a great deal of familiarity and leap at the opportunity to bring it to the stage. Kander & Ebb were the masters of Musical Theatre composition, and a show such as this calls for the utmost respect for the score, which the students absolutely delivered on.
  2. How did you work with the students to prepare them for such challenging musical numbers?
    With the tight schedule that we have, we dedicated one Tuesday rehearsal to cast vocals, learning all their parts for a song or two within one session usually! A lot of the success comes down to the dedication and focus of the students within those rehearsals to learn and memorise their vocal lines, and then continue to embed that outside the rehearsal space. As for the band, we also rehearsed every Thursday after school since September, slowly chipping away at the score until the final few weeks where things are run over and over again. The biggest challenge for them is developing familiarity and confidence to know what comes next, to be anticipating every entry so that you’re ready no matter what. It’s an incredibly difficult skill to master, but something that the band have definitely achieved.
  3. What’s been the most memorable moment for you during the musical rehearsals?
    The most memorable moments were always when you’d run through a number, and everything clicked into place; seeing everyone’s faces as they realised they’d nailed it was always incredibly satisfying, especially during the Sitzprobe, which is my favourite part of the rehearsal process. A whole rehearsal dedicated to just playing through all the songs with the full band and cast! It’s always such a treat right before show week.
  4. What’s one thing about the music in Chicago that you think makes it truly special?
    I can’t pick just one! For the cast, it’s the tenacity and raw power of the female vocalists that are commanded. Having such empowered characters as Roxie and Velma lead the show with their iconic songs sets it apart from most. As for the band, the interweaving of solo lines from within the band and the vocals showcases everybody’s abilities; everyone gets their opportunity to shine across the score.
  5. How do you think being part of this production has helped the students grow as musicians?
    Show bands are probably one of the most difficult ensembles to play in as you have nowhere to hide, having to master playing in a large variety of styles to suit every song in the show. Being in the band for this show is no different, and I have seen the students rise to the challenge and improve their abilities throughout, producing one of the best performances for a show that I’ve seen in my teaching career so far.
Amos Hart - Henry
Roxie - Alexia
Velma - Phoebe
Billy Flynn - Cedric
  1. Amos is such a heartfelt character. How do you bring his vulnerability and sincerity to life?

    I focused on his honesty and his emotional attachment to everything he does. Amos isn’t flashy or unkind like the other characters—he’s all heart, so I make sure to stay grounded and try to pour my heart out to the audience while performing. I hope that through my performance, the audience is sympathetic towards my character.

  2. What’s been the most rewarding part of playing Amos?

    The most rewarding part has been how fun the rehearsal process was. It has been great fun working with other students who are older and younger, making new friends along the way. Luckily, Amos is in a lot of different scenes and speaks to different people throughout the play, so I’ve worked with lots of different people. As for the character of Amos, connecting with audiences through his story has been cool to see. Seeing how they sympathise with him because of his story and the way he is treated and laugh at him with his somewhat sappy humour. I’m lucky to have some great lines which means I get a laugh from the audience, and that is a very rewarding feeling.

  3. Amos famously sings “Mr. Cellophane.” How did you approach performing such an emotional song?

    I just approached it with the attitude of trying to almost ‘sit in the sadness’ of Amos. I wanted the audience to feel bad for me through my body language and vocal tone. As the song progresses, Amos’ voice becomes more frustrated, showing his resilient side to the audience.

  4. What have you learned from playing a character like Amos?

    When blinded by love, one often overlooks the obvious.

  5. If Amos had a motto for life, what do you think it would be?

    “Just keep living, even when no one notices.”

  1. Roxie is such a complex character. How did you prepare to bring her to life on stage?
    My first step was to watch the movie adaptation to really understand the story. Renée Zellweger portrayed Roxie brilliantly and got me excited to work on my own interpretation of the character. Next, I tried to unpick Roxie’s motivation in each scene. As she is such a complex character, there is always hidden undercurrent of emotion and ulterior motive she seeks in various moments of the musical. I needed to somehow allude to her scheming nature whilst also acting like the innocent victim who has been wrongfully accused of murder.
  2. What’s been your favourite moment in rehearsals as Roxie?
    It’s so hard to choose just one! Overall, the Thursday night dance rehearsals were a highlight. Each week I would look forward to seeing the whole cast as we practiced each dance number. Friendships were made there; as we all stumbled our way through the choreography, trying to perfect each step. It’s definitely at the top of the list of the many things I will miss about this cast and the musical.
  3. Roxie has a mix of ambition, humour, and vulnerability. Which of these traits do you connect with most, and why?
    I believe her vulnerability. Ultimately, Roxie desperately wants success on the vaudevillian stage, and this drives each of her actions, as she tries to make her ambitions come true. In many ways, I feel sympathy towards Roxie, as her blatant insecurity is evident through her manipulative tendencies, which appear to be a front to cover up her vulnerability and fears. It’s this tender element of her character that I have enjoyed trying to incorporate into my performance. Undoubtedly, her ambition and humour are traits that were central to developing her character and performing them helped me embody Roxie’s confidence and external persona she imposes on people.
  4. What’s the most challenging part of performing her character?
    Roxie’s character demanded excellent acting, singing and dancing across the board, but as a singer I really wanted to perfect her songs. I wanted to perform this iconic score as best as I possibly could and each of her songs vary in tone, mood and character. Therefore, I really wanted to capture and master the jazzy vocal style the Chicago score is inherently based on, whilst simultaneously embodying Roxie’s physicality and expressive delivery in a way that would truly enhance her character and bring her to life.
  5. If Roxie were a student at Eltham College, what subject do you think she’d excel in?
    Undeniably Drama. Roxie is a born performer and loves the attention and fame that comes along with the territory. She would certainly excel in her involvement with drama department here and would be the first to audition for each production
  1. Velma is such a powerful character. How do you bring her energy and presence to life?
    Velma is a character that I just loved from the start and who I found easy to play as I think I do share some traits with her. She is also that type of character that I work well with, as an actor

  2. What’s your favourite part of Velma’s journey in the show?
    I think the whole point of Velma is that she doesn’t really have a journey; she is a constant throughout the show and doesn’t change much, whilst people around her (Roxie for example) do go on a journey as they react to their situation.  

  3. How have you approached Velma’s relationship with Roxie?
    I was lucky enough to play opposite two different portrayals of Roxie in this show, which was really fun and a nice challenge. Velma and Roxie are two people who grow to work together having both been on top and then realizing they have nothing once their “five minutes of fame” are over. I understand how they feel, although I don’t intend to murder someone to get ahead in show business!

  4. Is there a particular scene or song that’s been especially challenging for you?
    I wouldn’t say that there was one scene or song especially that was a challenge. For me the biggest challenge was the level of stamina needed to play Velma to the best of my ability through each individual show as well as the run. This was truly challenging, and I could not have done it without the support I had from everyone around me (fellow cast members, teachers, students, etc.) 

  5. If Velma could give advice to a fellow student at Eltham College, what do you think she’d say?

    If Velma could give students at Eltham College some advice, I imagine she would tell them to be their ‘own best friend’ and to put time and faith into yourself as an individual. Others might be competition, but don’t be afraid to work with others if you need to.
  1. Billy Flynn is strategic, and always in control. How do you step into his mindset?
    If I’m being honest, this is something I struggled with. Billy is just so different from how I normally am, so I really had to work harder than normal to step into his shoes. I sought advice from Mrs Robinson, who gave me excellent tips – for example, how to hold myself onstage. I also found clips of Richard Gere and James Naughton as Billy for inspiration, which were really helpful. I’ve probably seen or listened to most of the performances of Billy at this point!
  2. What’s your favourite number to perform as Billy, and what makes it special?
    Razzle Dazzle – it just sounds the best. There’s lots of interesting things going on musically, and it’s also the number where the audience really see Billy for who he is – a pure manipulator. I do also get to stand on a crate with a sparkly gold hat on and wave a long stick about, so there’s that.
  3. How do you balance Billy’s charm with his more calculating side?
    Interesting question! I think you’ve just got to remember that despite him claiming that “all I care about is love”, at his core Billy is just there for the money – everything he does ultimately contributes to that goal. So even in the bits where the charm and suaveness are on display, you’ve just got to remember that he’s there for that cash – nothing else.
  4. What’s been the most challenging part of portraying a character like Billy Flynn?
    This might surprise some people, but it was the accent. There’s just not a lot you can do to teach yourself the Chicago accent short of hiring an accent coach, so I had to trawl through YouTube and the internet to find guides and videos and such. I think what did it in the end was playing a video game set in Chicago – that and watching Richard Gere’s performance and trying to copy how he pronounces things.
  5. If Billy were a teacher at Eltham College, what subject do you think he’d teach?
    I really hope I don’t offend anyone, but it would probably be economics. It just seems to me that he has a good eye for money and how to make lots of it, and that requires (I assume, I don’t take economics) intimate knowledge of the economy. Either that or drama, because he is meant to be dramatic and manipulative to put on a show in the courtroom. You really do gotta Razzle Dazzle them, after all.