Chicago (musical)
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| Chicago | |
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| Poster from the West End Production | |
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| Music | John Kander |
| Lyrics | Fred Ebb |
| Book | Fred Ebb Bob Fosse |
| Based upon | Chicago play by Maurine Dallas Watkins |
| Productions | 1975 Broadway 1996 Broadway 1997 West End 2005 US Tour 2006 UK Tour |
| Awards | Tony Award for Best Revival |
Chicago is a Kander and Ebb musical set in prohibition era Chicago. The book is by Ebb and Bob Fosse. The story is a satire on corruption in the administration of criminal justice, and the concept of the "celebrity criminal." The musical is based on a 1926 play of the same name by reporter Maurine Dallas Watkins about actual criminals and crimes she had reported on.
The original 1975 Broadway production ran for a total of 936 performances. Bob Fosse choreographed the original production, and his style is strongly identified with the show. Chicago's 1996 Broadway revival holds the record for the longest-running musical revival on Broadway (not counting the revue Oh! Calcutta!) and, as of July 2007, it has played for more than 4,400 performances. The revival was followed by a production on London's West End and several tours and international productions. A successful film version of the musical was released in 2002.
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[edit] History
The musical Chicago is based on a play of the same name by reporter Maurine Dallas Watkins, who had been assigned to cover the 1924 trials of murderesses Beulah Annan and Belva Gaertner for the Chicago Tribune.
Annan, the model for the character of Roxie Hart, was 23 when she was accused of the murder of Harry Kalstedt. The Tribune reported that Annan played the foxtrot record "Hula Lou" over and over for two hours before calling her husband to say she killed a man who "tried to make love to her." She was found "not guilty" on May 25, 1924. Velma is based on Gaertner, who was a cabaret singer. The body of Walter Law was discovered slumped over the steering wheel of Gaertner's abandoned car on March 12, 1924. Two police officers testified that they had seen a woman getting into the car and shortly thereafter heard gunshots. A bottle of gin and an automatic pistol were found on the floor of the car. Gaertner was acquitted on June 6, 1924. The two lawyers, William Scott Stewart and W. W. O'Brien, were models for a composite character in Chicago, "Billy Flynn."
Dallas-Watkins' sensational columns documenting these trials proved so popular that she decided to write a play based on them. The show received both popular and critical acclaim and even made it to Broadway in 1926, running for 172 performances. A 1927 silent film version produced by Cecil B. DeMille and starring former Mack Sennett bathing beauty Phyllis Haver as Roxie Hart was remade as Roxie Hart, in 1942 with Ginger Rogers in the title role.
Gwen Verdon read the play and asked her husband, Bob Fosse, about the possibility of creating a musical based on it. Fosse approached Watkins multiple times to ask her permission to adapt the play as a musical, but he was rejected in each instance. Upon her death in 1969, however, Watkins instructed that the rights to Chicago be sold to Verdon and Fosse. After Watkins's death, John Kander and Fred Ebb began work on the score, modeling each number on a traditional vaudeville number or a vaudeville performer. This format made explicit the show's comparison between "justice", "show-business", and contemporary society. Ebb and Fosse penned the book of the musical, with Fosse also directing and choreographing.
[edit] Plot synopsis
- Act 1
Velma Kelly is a vaudevillian who murdered both her husband and her sister when she found them in bed together. She welcomes the audience to tonight's show ("All That Jazz"). Meanwhile, we hear of chorus girl Roxie Hart's murder of her lover, nightclub regular Fred Casely.
Roxie convinces her husband Amos that the victim was a burglar, and Amos cheerfully takes the rap. Roxie expresses her appreciation of her husband's thick skull in "Funny Honey". However, when the police mention the deceased's name Amos belatedly puts two and two together. The truth comes out, and Roxie is arrested. She is sent to the women's block in Cook County Jail, inhabited by Velma and other murderesses ("Cell Block Tango"). The block is presided over by the corrupt Matron "Mama" Morton, whose system of mutual aid ("When You're Good to Mama") perfectly suits her clientèle. She has helped Velma become the media's top murder-of-the-week and is acting as a booking agent for Velma's big return to vaudeville.
Velma is not happy to see Roxie, who is stealing not only her limelight but her lawyer, Billy Flynn. Roxie tries to convince Amos to pay for Billy Flynn to be her lawyer ("A Tap Dance"). Eagerly awaited by his all-girl clientèle, Billy sings his anthem, complete with a chorus of fan dancers to prove his assertion that "All I Care About is Love". Billy takes Roxie's case and re-arranges her story for consumption by sympathetic tabloid columnist Mary Sunshine, who always tries to find "A Little Bit of Good" in everyone. Roxie's press conference turns into a ventriloquist act with Billy dictating a new version of the truth ("We Both Reached for the Gun") while Roxie mouths the words. Roxie becomes the new toast of Chicago as Velma's fame is left in the dust. Velma tries to talk Roxie into recreating the sister act ("I Can't Do It Alone"), but Roxie turns her down, only to find her own headlines replaced by the latest sordid crime of passion. Separately, Roxie and Velma realize there's no one they can count on but themselves ("My Own Best Friend"), and the ever-resourceful Roxie decides that being pregnant in prison would put her back on the front page.
- Act 2
Velma again welcomes the audience. She informs the audience of Roxie's continual run of luck ("I Know a Girl") despite Roxie's obvious falsehoods ("Me and My Baby"). A little shy on the arithmetic, Amos proudly claims paternity, and still nobody notices him ("Mr. Cellophane"). Velma tries to show Billy all the tricks she's got planned for her trial ("When Velma Takes The Stand"). Billy's forte may be showmanship ("Razzle Dazzle"), but when he passes all Velma's ideas on to Roxie, down to the rhinestone shoe buckles, Mama and Velma lament the demise of "Class". As promised, Billy gets Roxie her acquittal but, just as the verdict is given, some even more sensational crime pulls the pack of press bloodhounds away, and Roxie's fleeting celebrity life is over. Left in the dust, she pulls herself up and extols the joys of life "Nowadays". She teams up with Velma in that sister act, in which they dance and perform the "Hot Honey Rag" until they are joined by the entire company for the grand "Finale".[1]
[edit] Musical numbers and analysis
Many of the musical numbers in Chicago are based on traditional vaudeville acts including some based on particular vaudevillian performers.[citation needed] The musical numbers are listed below with a description of these antecedents where applicable:
- "Overture" - performed by a pit-band
- "All That Jazz" - a number in homage to famous speakeasy owner Texas Guinan
- "Funny Honey" - modeled on Helen Morgan and Judy Garland's performances
- "Cell Block Tango" - the "merry murderesses" evoke the "ethnic numbers" of Vaudeville, and the death by hanging is staged as a "tightrope" act
- "When You're Good to Mama" - a Sophie Tucker/Mae West/Pearl Bailey -type double-entendre song, playing on the lesbianism of the character
- "All I Care About" - a striptease based on Sally Rand and her fan dance, with Billy Flynn spoofing Al Jolson and bandleader Ted "Is Everybody Happy?" Lewis
- "Little Bit of Good" - Mary Sunshine, a female-impersonator reminiscent of Julian Eltinge singing a Jerome Kern parody as Marilyn Miller
- "We Both Reached for the Gun" aka "The Press Conference Rag" - a ventriloquist act
- "Roxie" - an autobiographical, observational stand-up comedy routine a la Fanny Brice
- "I Can't Do It Alone" - half of a "double-act" (or an acrobatic "sister-act")
- "My Own Best Friend" - a torch song, subverted by the fact the singers are praising themselves
- "Me and My Baby" - a cakewalk, a la Eddie Cantor
- "Mr. Cellophane" - a clown number reminiscent of Bert Williams' song "Nobody" performed by Amos Hart wearing the costume of Emil Jannings from the final scene of The Blue Angel
- "When Velma Takes the Stand" - evokes vaudeville's courtroom comedy sketches, and staged as a parody of production numbers featuring collegiate chorus boys with megaphones (i.e. Good News)
- "Razzle Dazzle" - Flynn assumes the persona of Clarence Darrow in a juggling circus act
- "Class"
- "Nowadays" - a song reminiscent of Kander & Ebb's "Maybe This Time" from Cabaret
- "Hot Honey Rag" - a Charleston finale by Velma and Roxie
[edit] Productions
[edit] Original Broadway production
Chicago: A Musical Vaudeville opened on June 3, 1975, and ran for a total of 936 performances, closing on August 27, 1977. It starred Chita Rivera as Velma Kelly, Gwen Verdon as Roxie Hart, and Jerry Orbach as Billy Flynn. Velma Kelly was a comparatively minor character in all versions of Chicago prior to the musical rendering. The role was fleshed out to balance Chita Rivera's role opposite Gwen Verdon's Roxie Hart. The musical got mixed reviews, which is reportedly what Fosse wanted. The Brechtian style of the show, which frequently dropped the fourth wall, made audiences uncomfortable. It brought attention to the fact that the show was really about the world we live in, paralleling the glamorization of criminals with how society itself makes criminals into celebrities.
It was through this production, and not the writing, that much of the "traditional" Chicago staging conventions were developed:
- The double snap in "Razzle Dazzle" was added as an afterthought at the suggestion of Fred Ebb to John Kander. Kander did not like the idea, but Ebb thought Fosse would love it. He did.
- During rehearsals, "Razzle Dazzle" was originally staged as an orgy on the steps of the courthouse. Fosse was talked out of allowing this staging to make it into the final production.
- The original finale was "Loopin' the Loop", and based on music submitted to Kander and Ebb by Gwen Verdon and Chita Rivera. It was decided that the piece was too lighthearted, so the piece was cut and replaced with "Nowadays". Sections of "Loopin' the Loop" can still be heard in the Overture.
- Until the tryouts, there was another principal character, played by David Rounds and known simply as "The Agent," whose role was to exploit the notoriety of the prisoners for his own gain. He also served as the evening's emcee. This character's role was eventually folded into that of Matron Mama Morton, his song "Ten Percent" was cut, and various members of the chorus shared his emcee duties.
- In a reversal of roles, Fosse decided the lyrics to the number "Class" were too offensive and censored Kander and Ebb's original version of the song.
The show had the misfortune of opening the same year as Michael Bennett's highly successful A Chorus Line, which beat out Chicago in both ticket sales and at the Tony Awards.[2] The show was on the verge of closing, when it ran into another setback: Gwen Verdon inhaled a feather during the finale, which resulted in a throat infection.
The producers planned on closing, when Liza Minnelli stepped in and offered to play the role of Roxie Hart in place of Verdon. Her run lasted a month, and so the show continued into 1977.
[edit] City Center's "Encores!"
In 1996, City Center announced that Chicago was to be included in its fall line up of "Encores!" series. The series had been previously used exclusively to bring attention to older, more obscure musicals that might have otherwise have been forgotten.
The production was directed by Walter Bobbie with choreography "in the style of Bob Fosse" by Ann Reinking, who also starred as Roxie Hart. Also in the show was Bebe Neuwirth as Velma Kelly, Joel Grey as Amos Hart and James Naughton as Billy Flynn. The show was well-received, despite the fact that performers were still holding scripts and the choreography was sometimes unpolished. By intermission on opening night, there was talk of a full scale revival.
[edit] Broadway revival
Barry and Fran Weissler brought the concert version of Chicago, now titled Chicago: The Musical directly to Broadway, where it opened on November 14, 1996. The show set a record for recovering its initial costs faster than any other musical in history. This is likely due to the stripped down nature of the show: the set is nothing more than a giant bandstand, and the costumes are minimalist and black.
Unlike its predecessor Chicago: A Musical Vaudeville, Chicago: The Musical was met with praise from audiences and critics alike. Society had changed in light of events such as the O.J. Simpson murder case, and audiences were more receptive to the criminal-as-celebrity theme of the show.[3] Chicago: The Musical won 6 Tonys, more than any other revival in Broadway history, winning for Best Musical Revival, Best Actress for Bebe Neuwirth, Best Actor for James Naughton, Best Lighting Design for Ken Billington, Best Director for Walter Bobbie and Best Choreography for Ann Reinking. While still married to Verdon, Fosse also romanced Ann Reinking, who would later choreograph the revival as well as play Roxie.
Chicago: The Musical has run for over 4,400 performances as of July 2007 and is the longest-running revival on Broadway. It holds the record for longest-running revival on Broadway, second only to the nude revue, Oh! Calcutta! (although the West End revival of Blood Brothers has been running longer. Chicago is now the eighth longest-running Broadway show ever.[4] During its run, the show has played in three Broadway theatres - the Richard Rodgers Theatre, the Shubert Theatre and the Ambassador Theatre.
The cast recording of the revival won a Grammy Award.
[edit] West End production
On November 18, 1997, Chicago: The Musical opened in London's West End. The original cast of the production included Ute Lemper as Velma, Ruthie Henshall as Roxie Hart, Nigel Planer as Amos Hart and Henry Goodman as Billy Flynn. The production won the 1998 Olivier Award for Outstanding Musical.
The show ran at the Adelphi Theatre for 9 years until transferring to the Cambridge Theatre in April 2006, where it continues to play as of June 2007.[5]
[edit] International productions
There are currently productions of Chicago in China, Serbia, Spain, France, Germany, and Japan. There is also a production planned for Italy. There have also been productions in Russia (where it became one of the most notorious flops in the history of Russian theatre), Sweden, Austria, Hungary, Brazil, Israel, India, Albania, South Africa, Argentina, The Netherlands, Mexico, Norway and Australia. The Mexican production facilitated the first transfer of a performer from Mexico to Broadway with Bianca Marroquin as Roxie Hart. Caroline O'Connor starred as Velma in the Australian production, moving on to play the role on Broadway. In April 2007, this musical is also in Tirana, Albania through the Theatre International.
Chicago was staged at the Chowdiah Memorial Hall in Bangalore on the 17th and 18th of August 2006. The production was stopped on the third day due to legal issues of copyright infringement.
[edit] Famous actors and actresses
Many well-known actors and actresses have played leading roles in various productions of Chicago:
[edit] Film adaptations
In 1927, a silent film version of the original non-musical play was made. In 1942, a "cleaned-up" version of the 1926 play, this time called Roxie Hart, was released. It was directed by William A. Wellman and starred Ginger Rogers as Roxie, Adolphe Menjou as Billy Flynn, and Spring Byington as reporter Mary Sunshine. In this version, Velma is reduced to a small role, and Roxie is mistakenly tried for murder.
A film version of the Kander-Ebb musical was produced and released in 2002, starring Renée Zellweger as Roxie Hart, Catherine Zeta-Jones as Velma Kelly, and Richard Gere as Billy Flynn. The story was told by staging the vaudeville acts as fantasies of Roxie Hart, eliminating some songs, and lightening the character of Roxie. The original lyrics of "Class" were restored for this film version, which although not present in the final release print, was included as a DVD bonus feature. The 2002 film won the Oscar for Best Picture, and Zeta-Jones won Best Supporting Actress.
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For more details on this topic, see Chicago (2002 film).
[edit] References in Pop Culture
- The Jimmy Neutron episode "Lights, Camera, Danger" features a musical number, "And Save The Day", which is a parody of "All That Jazz"
- On the 3 episode of the 1st season of the Muppet Show, Joel Grey (Amos in the 1996 revival) sang "Razzle Dazzle" from Chicago.
[edit] External links
- Chicago, The Musical, Official Website
- Useful links to information about Chicago
- Internet Broadway Database listing
- Lyrics to Chicago
- BroadwayWorld TV: Broadway Beat - Chicago, Pygmalion and Frankenstein
[edit] References
- ^ Plot Summary based on that of Bill Rosenfield, copyright 1997 BMG Music
- ^ Chicago - a musical by John Kaner, Fred Ebb and Bob Fosse. Retrieved on 2007-06-25.
- ^ Online NewsHour: Chicago, the Musical--May 30, 1997. Retrieved on 2007-06-25.
- ^ Broadway run information from Playbill.com
- ^ West End Programme, published November 2003
| Awards | ||
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| Preceded by The King and I |
Tony Award for Best Revival of a Musical 1997 |
Succeeded by Cabaret |
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Flora the Red Menace • Cabaret • The Happy Time • Zorba • 70, Girls, 70 • Chicago • The Act • Woman of the Year • The Rink • And The World Goes 'Round • Kiss of the Spider Woman • Steel Pier • All About Us • The Visit • Curtains |
