The sold-out student-led production leaves its mark in the  community 

For five months, students from the Middle/Upper school have tirelessly worked on preparing a play  unlike any other Baldwin has seen. From the creation of the fantastic set to the choreography itself, the cast and  crew portraying themes of corruption, adultery, and crime, the cast and crew of this year’s spring musical Chicago left audiences wanting more.  

There’s an unshakable part of me that is unable to enjoy musicals: an inability to follow the plot with  precision due to the constant singing, the theatrics that my mind classifies as overboard, the seemingly too-fast or  not-fast-enough pace of the plays. Granted, I am not any sort of expert on musical theater. While I respect the art, I  have always preferred a good movie (with subtitles to make sure I miss none of the essential words) over a musical.  However, this year’s spring play taught me that there is an inescapable enchantment in musical theater that I had  completely overlooked. 

Chicago’s closing scene

Chicago is a play originally written by Maurine Dallas Watkins in 1926, later adapted as a musical in 1975,  and which won six Oscars in its 2002 movie adaptation, including the Academy Award for Best Motion Picture. A  musical that denounces celebrity culture and the justice system in the United States of America during the 1920s,  Chicago manages to portray themes of crime, adultery, murder, and corruption in order to hold accountable  aspects of society that are still reflected nowadays in the glorification of media, yellow journalism, and propaganda. 

Although a “teen edition,” Baldwin’s “Chicago,” directed by eleventh-grader Mallory Macomber with the  indispensable help from teacher Maraliza Pagán, certainly struck with the audience in the VPAC. The cast’s  enchantment most definitely won over its audience on not only one, but two dazzling shows. Headlining were Andrea Pérez as Roxie, Camelia Elías as Velma, Adriana Muñiz as Matron Mama Morton, Luke Muskrat as Billy  Flynn, and Aramis Rivera as the MC, this year’s stunning production of Chicago was filled with talented acting,  excellent choreography, and jaw-dropping singing. 

An essential part of this year’s production was the band’s work. Granted, any musical must have an  incredible team of musicians to be able to put the “musical” part of the play to work. However, this year’s band,  with music director Sam Padua and guided by teacher Andreas Stoltzfus, was exceptional. With hearty musical cues that perfectly blended into the play’s onstage performances, such as gunshots and tiptoes, the band’s contribution to the overall Chicago experience was beyond excellent. The band was in proper suit and tie, going  hand-in-hand with the 1920s era portrayed in the play itself, with some members opting for a slick sunglasses indoors look and Mr. Stoltzfus blessing the audience with blonde, curled hair, specially for this occasion.  Undoubtedly, this year’s band surpassed already-high expectations.

The band

There is so much that one could praise about Chicago. The costume design, headed by Ana Piccinoni, truly  highlighted the essence of the 1920s with bedazzling dresses, fine suits for the gentlemen, and clever trench coats  for the reporters. Of course, this magnificent result was also possible due to the artistry behind the makeup, with  Stella Gierbolini as Hair and Makeup Designer. And, as always, the audiovisual club certainly upheld their part in  ensuring that the play ran as smoothly as possible—Miranda Alsina, A/V Technical Director, Viviana Román,  Broadcast Director, Daniel Gómez, Sound Engineer, and Denny Macomber, Lighting Director, deserve a special  shoutout for their efforts in this production.  

What was a simple good watch as a movie turned to be a special souvenir from Baldwin’s Performing Arts  Clubs, the Stage Company, Glee Club, Dance Club, M/US Band, and A/V Club, which, as a graduating senior, I  will cherish as the last Spring musical I had the pleasure of witnessing as a student. Chicago was a gift for all  audience members, one that they will appreciate for years to come. 

If you or anyone you think may be interested was not able to watch Chicago: Teen Edition live at the VPAC, it is available for rewatching in the “Baldwin Live Stream” YouTube channell: http://(https://m.youtube.com/ live/utF4-ALP3mY? feature=share&fbclid=PAAaYfjQxAjrUYcGsdUGcF7wGW_LfePGRRgQ5nApu_M3C7_321A-zPnMR8nV4).

Additionally, for more photos of the play, be sure to visit Baldwin’s photo album page on Chicago: Teen Edition http://(https://www.baldwin-school.org/apps/albums/school/0/327737/0?uREC_ID=0&backTitle=&backLink=). 

References 

BaldwinPR Performing Arts. Instagram, https://instagram.com/baldwinpr_performing_arts? igshid=YmMyMTA2M2Y=.

Baldwin School. “Photos & Videos | Baldwin School.” Baldwin School, https://www.baldwin-school.org/apps/ albums/school/0/327737/0?uREC_ID=0&backTitle=&backLink=. 

Playbill. “Chicago – Broadway Play – 1996 Revival.” Playbill, 2021, https://www.playbill.com/show/detail/5626/ chicago.