Cappies Review: 'Chicago: Teen Edition' At Edison High School

By Lucy Baboyian of Annandale High School

A lone trumpet pierced the air with a sharp, sultry riff as dancers swept onstage, locking into formation while the audience buzzed with anticipation. Burlesque bulbs flashed, the band snapped into "All That Jazz," and the stage instantly pulsed with a smoky, razor-bright edge. From that very first beat, it was clear: the name on everybody's lips was gonna be Chicago: Teen Edition at Thomas A. Edison High School.

First premiering on Broadway in 1975 with music by John Kander, lyrics by Fred Ebb, and unmistakable choreography by Bob Fosse, Chicago has endured as one of musical theatre's sharpest satires. Adapted from Maurine Dallas Watkins's 1926 play, it follows Roxie Hart and Velma Kelly as they manipulate the press, the public, and the courts to turn their crimes into fame. Structured like a vaudeville revue, the musical exposes the sensationalism of crime and celebrity with pointed wit. Its 1996 revival, now Broadway's longest-running American musical, cemented its cultural status and inspired worldwide tours and an Oscar-winning film.

At the center of Edison's production were the electrifying duo of Nicoletta Theodora Pelekasis as Velma Kelly and Korina Horvat as Roxie Hart. Pelekasis's Velma owned the stage from her first sardonic glance, delivering vocals that were both fierce and finessed while executing Fosse choreography with razor-sharp control. Every angle, snap, and sly flick of her wrist radiated star power. Horvat's Roxie countered with Southern-belle charm and cunning ambition, her performance blending sweetness with bite. She crafted a character who was as magnetic as she was unpredictable. Together, the pair's chemistry was undeniable — their harmonies seamless, their duets charged with energy and tension. Velma's commanding presence and Roxie's playful vivacity formed a partnership that was engaging, nuanced, and consistently arresting.

Beyond the leading pair, the supporting cast brought layers of humor and texture. Jackson Byrd's Billy Flynn strutted onstage in pink, twirling his cane with polished flair. His performance was delightfully flamboyant without tipping into caricature, and his smooth, controlled vocals added charismatic swagger to his numbers. Adriana Castillo's Mama Morton exuded mob-boss authority, her arched brow or sly smirk communicating more than words ever could. The Merry Murderesses of "Cell Block Tango" delivered one of the evening's standout numbers, attacking the choreography with precision, intensity, and unmistakable Fosse attitude.

The technical elements wrapped the production in a jazz-club glow. Lighting design by Malyha Bashar, Arcadia Perszyk, Anton Weiser, and Byron Pinkney crafted a visual world that shifted effortlessly with the story's rhythm. Warm, vintage-style bulbs along the apron evoked the glamour of a 1920s nightclub, while saturated reds and blues sharpened moments of tension and contrast. Costumes by Tara West, Cricket Lammers, and the costume crew further enriched the production's atmosphere: Amos's oversized jacket underscored his quiet presence, Billy's pink suit radiated showbiz bravado, and Mama Morton's pinstripes echoed her iron grip on power. Supported by the dynamic onstage pit orchestra — whose crisp brass hits and smoky undertones anchored the show's vintage jazz feel — these elements came together to create a cohesive, jazz-soaked aesthetic that deepened the storytelling.

From that first brassy trumpet to the final blackout, Thomas A. Edison High School's Chicago: Teen Edition pulsed with wit, heat, and irresistible style, reviving the roaring twenties with razzle-dazzling confidence.