Chicago The Musical

Act I

Kander and Ebb’s Chicago of the 1920s is a hotbed of jazz and gin, passion and cold blooded murder. After the Overture, we meet Velma Kelly, the remaining half of a sister-sister vaudeville act—whose other half Velma shot, along with her own husband, when she caught them together in bed. Velma introduces us to the other “heroine” of our story, Roxie Hart, in “All That Jazz.” We see how Roxie murdered her lover, nightclub regular Fred Casely, when he tried to walk out on her. She then convinces Amos, her nonentity of a husband, that she shot a burglar and that Amos should take the rap because he will be “sure to get off.” Roxie praises Amos in “Funny Honey” until Amos realizes at the police station that he was had. He sings like a canary and Roxie is left to fend for herself at the Cook County Jail.

Roxie meets her cellmates (including Velma) and their crimes in “Cell Block Tango.” Their prison is run by Matron “Mama” Morton, who thrives on a “you scratch my back, I’ll scratch yours” system (“When You’re Good to Mama”). Mama and Velma have been scratching each other, with Mama helping Velma gain notoriety for her crime to aid her eventual return to vaudeville.

Here begins the rivalry between Velma and Roxie. Roxie quickly realizes that what she needs to succeed is publicity. She convinces Amos to put up the $5,000 to hire Velma’s big shot lawyer, Billy Flynn, who enters singing “All I Care About,” complete with fandancers. Billy knows that Roxie’s story must be altered to appeal to the press, especially “sob sister” Mary Sunshine, who will try to find “A Little Bit of Good” in Roxie. Billy turns Roxie into a ventriloquist’s dummy for her press conference, rewriting the cold-blooded murder into “We Both Reached for the Gun.” This newer, more sensational story steals all the headlines from Velma’s now-passe crime.

Sensing her decline, Velma tries to coerce Roxie into teaming up into her old sister act, even demonstrating some of her old moves in “I Can’t Do it Alone.” Roxie snubs her, but then realizes that her own notoriety won't last forever—it is being eclipsed by some newer crime. She and Velma, both very alone in their dwindling glamour, realize they will have to take care of themselves (“My Own Best Friend”). Roxie hatches the idea of reclaiming her publicity by telling the world that she's expecting a baby.

Act II

Velma welcomes us back, after the Entr'Acte, with a “Hello, suckers!” She is astounded at everything Roxie is getting away with (“I Know a Girl”). Roxie, meanwhile, is selling her baby story to the press (“Me and My Baby”). Amos tries to claim the baby as his offspring, but no one pays any attention, as usual—a fact he laments in “Mr. Cellophane.” Velma tries to win back the attention of Billy Flynn by showing him what she will do “When Velma Takes the Stand.” Billy, however, is more interested in coaching Roxie's performance (“Razzle Dazzle”), and passes Velma's tricks straight to his new pupil. When Velma realizes she's been two-timed, she and Matron “Mama” Morton protest the world's lack of morality in “Class.”

Finally, Billy takes Roxie's case to trial and easily wins her acquittal. Roxie's freedom, however, is also the end of her popularity, as some newer crime yanks the media's attention away from her. She realizes her time in the spotlight is over and sings about the life awaiting her as a free woman (“Nowadays”). She makes the best of her old popularity by teaming up with Velma in her sister act (“Nowadays”), and she and Velma entertain whatever public they have left with their “Hot Honey Rag.” The show closes as these “living examples of what a wonderful country this is” are joined by the rest of the company for the Finale.

Series Subscription Packages On Sale Now

How to Subscribe
Download an Order Form Now