King Edward VI School Receives a Glowing Review from Esteemed Critic David Putley for Latest Production of Chicago

King Edward VI School is thrilled to announce that our latest production of the iconic musical "Chicago" has received a glowing review from David Putley; Actor, Hampshire Theatre reviewer for Scene One and former Daily Echo theatre critic. 

In his review, Mr. Putley praises KES for delivering such a wonderful performance. 

The full review can be enjoyed here: 

I had the great privilege of attending King Edward VI School’s production of Chicago on Saturday evening. I have a feeling I will run out of superlatives to reveal how professional and exceptional it was both in level of talent and all the other processes that are needed to put such a show together.

Whilst described as a teen edition, this certainly was not a watered-down version of the professionally put on show as far as I could tell. True, some of the sexual inuendo has been teased out of it, but the songs and style were in tact including such complicated and intricate numbers as Cell Block Tango, I Can’t Do it Alone, and We Both Reached For The Gun, the latter being made to look so easy when it is one of the technically most difficult numbers in musical theatre.

Lisa Gilmour, Stacey Barnett and Alex Eadon have created something very special. Attention to detail, especially with a large cast, is not easy - but Lisa’s eye is seen everywhere: from folded up scarves that become baby bundles and rolled-up dresses creating ease of continuity; magic, for want of a better word, as everything just flowed. No clunky set changes and an admirable use of props ensured the action was never interrupted or diverted, alongside a technical team providing lights, sound and wardrobe that perfectly matched the vision.

I have rarely seen such brilliant choreography from such a young cast. Stacey Barnett has clearly worked hard to give the essence of Fosse and challenged her students to be intricate, flowing and dynamic with the signature moves. You know you are in good hands when the opening number just “appears”: the use of the chairs in typical style of the period and the confidence in placement was most effective. Every hand gesture and movement were in total pack sync and clearly everyone was enjoying the chance to excel in this type of dance. Marvellous to see and watch, utilising all the space but yet somehow maintaining the show’s deliberate intimacy. I cannot praise it highly enough frankly.

And I feel the same about the performances themselves. Talent just flowed from the stage. Molly Knapman as an “on-fire” Velma Kelly doing the splits in the first 3 minutes of the show alerted the audience this was going to be special. With Nell Sarton as a voracious Roxie Hart it would be hard for me to remember a better matched partnership in both vocal ability, diction and dance. Songs particularly of note were “Own Best Friend”, “I Know a Girl” and “Nowadays”, all given real character understanding. Totally ‘triple threat’ in the terms of acting, singing and dancing this wonderful score to energetic perfection. Both are names to watch for: I hope both of them pursue some sort of career in musical theatre as their talent is too special not to be fully utilised.

And the boys equally matched them. Charlie Danby looked completely at home in the role as the suave, debonaire but ultimately totally opportunistic Billy Flynn. Totally self-obsessed and an arch manipulator, Charlie somehow made him so likeable even in the damning baby revealing scene with Max Henderson as a subdued Amos Hart. Charlie’s singing and stage presence brought a dynamo performance, especially in the afore-mentioned “Gun” song and his signature tune, “All I Care About Is Love” - which of course is the one thing he does not care about.

Max Henderson you did care about! Amos Hart is a difficult character to balance, as you have to portray a person that believes they are nothing and not seen by the outside world. Pure cellophane, as the song goes, which was acted and sung beautifully. The final words with just the tip of expression in the word “time” was just exquisitely performed. His bemusement was keenly facially etched as he tried to make people realise his place in the world… but inwardly acknowledging he never would be.

More than able assistance came from Lucy Walker as a confident strutting Mama Morton, giving a slightly more compassionate interpretation which dove-tailed perfectly to this production. The relationship with Velma Kelly was expertly explored and her vocals were powerful and authoritative in tone and content. Chloe McIlroy looked splendid in her role as Mary Sunshine, exhibiting poise and class with a voice to match.

Kudos to Alex Butson who allowed himself 7 different murders during the wonderful “Tango”, negotiating red silk with ease and precision from various pockets etc.

The music was soundly balanced and in great shape and resonance under the expert talents of Alex Eadon. The expertise given to the complex score was out of this world with wonderful brass and reed work throughout and even mandolin alongside equally masterful violin, keyboard, bass and drum percussion work. You could not find better in a professional environment.

The set was a basic bridge construction with tables each side for a well-disciplined ensemble to sit at throughout when not involved in stage movement. This enhanced the intimate setting of the show in its 20’s setting and the bridge allowed for further movement. The authenticity of the costuming was so well thought out; from numerous journalist macs to 20’s black and white, everyone looked as good as they sounded. The lighting and technical sound was pin-point for the space, every word being heard and lit perfectly.

All concerned should be incredibly proud. I am still buzzing about it now.

“Give them an act that’s unassailable, and the reaction will be favourable. Razzle-dazzle them and they’ve made you a star”