Spotlight Youth Theatre’s Chicago Is Slick, Confident, and Way Better Than It Has Any Right to Be
Spotlight Youth Theatre did not just put on Chicago. They understood it. This production was tight, confident, and genuinely impressive, the kind of show that makes you forget you are watching teenagers and just enjoy the work in front of you.
Shea Levine’s Roxie Hart was a joy to watch. She was bubbly, funny, and completely in control, dancing and singing with the ease of someone who knows exactly what she is doing. A true triple threat, and one who carried the show without ever forcing it.
David Castro as Billy Flynn had the charm and the voice to back it up. Smooth, confident, and vocally powerful, he played the role exactly as it should be played. You believed him every second, which is kind of the whole point of Billy Flynn.
Vivienne Spamer’s Velma Kelly was sharp and grounded, with clean vocals and strong, precise dancing. She brought a sense of polish and control that anchored the show whenever she was onstage.
Thaisa Thompson as Mama Morton completely owned When You’re Good to Mama. She had presence, confidence, and a natural command of the stage that made it impossible to look away.
Devin Baheshone’s Amos was genuinely touching. His Mr. Cellophane was sweet, sincere, and quietly heartbreaking in the best way. He never overplayed it, which made the moment land even harder.
The ensemble was one of the biggest strengths of the night. Cell Block Tango was outstanding, six voices working together with power and precision. It felt focused, unified, and thrilling, with not a weak link in sight. Both Reached for the Gun was lively and clever, with puppeteering that was handled smoothly and confidently.
The choreography by Katie Czajkowski gave the show its shape and style. The movement was clean, intentional, and very well suited to these performers, capturing the spirit of Fosse without feeling stiff or copied.
Vocally, the cast was clearly in good hands under music director Ken Goodenberger. The singing was clean, confident, and consistent across the board, which says a lot about both the performers and the leadership behind them.
The set, designed by Michael Armstrong, worked beautifully. The upper level, center doors, and glowing marquee lights spelling out Chicago gave the show a strong visual identity and plenty of opportunities for dramatic moments.
Under the direction of Christina Clodt and Joshua Hengst, this cast was guided with clarity and high expectations, and it showed. Nothing felt accidental. The performers knew what they were doing and why they were doing it.
By the final bow, it was clear that this was not just a good youth theatre production. It was a solid, well-crafted Chicago that respected its performers and its audience. Spotlight Youth Theatre should be proud of this one.