STUDY GUIDE

NOTE FROM
THE DRAMATURG
When I was twelve years old, I saw my first Broadway musical. It was
Chicago, the funny, silly, and playful Kander and Ebb hit musical, that first
caught my attention after the release of the award-winning 2002 film
adaptation. The movie version, which was directed by Bill Condon, had
a star-studded cast including Catherine Zeta-Jones, Renee Zellweger,
Queen Latifah, Richard Gere, and Taye Diggs, among many others. As
a dancer myself, I remember painstakingly learning and practicing the
choreography to “All That Jazz” and “Hot Honey Rag,” dreaming and
hoping that I might one day perform these numbers on a Broadway
stage. My mom, knowing my obsession with Chicago, surprised me
with tickets while on a trip to New York. Equally as impressed with the
stage version as I had been with the film, to this day, musical theatre,
for me, means Chicago.

Chicago, written by John Kander, Fred Ebb, and Bob Fosse, tells
the story of Roxie Hart and Velma Kelly, two women in 1920s
For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue—“America’s Main
Street”—and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White
Chicago, Illinois who are imprisoned after committing murder.
House and having the Pennsylvania Avenue National Historic Site as its “front yard,” The National Theatre is a historic, cultural Based on the 1926 play of the same name by Maurine Dallas
presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. Watkins, the musical takes a whimsical, humorous, and witty look
at the American legal system. The musical first premiered on
The non-profit National Theatre Foundation oversees the historic theatre and serves the DC community through three free Broadway in 1975, and starred Broadway divas Gwen Verdon
outreach programs, Saturday Morning Live! At The National, Community Stage Connections, and Teens Behind the Scenes. and Chita Rivera as Hart and Kelly. It was critically acclaimed
These programs provide the greater Washington area with access to high quality performing arts experiences while promoting at the time of its premiere and was nominated for ten Tony
and employing local and regional artists. awards, including Best Musical. It returned to Broadway twenty
years later in 1996 with Ann Reiking and Bebe Neuwirth in the
leading roles, once again received rave reviews, and ended
THE NATIONAL THEATRE FOUNDATION up winning six out of the eight Tony Awards it was nominated
David J. Kitto, Executive Director
for. In fact, the 1996 production was so popular that it has
Olivia Kosciusko Tritschler, Director of Operations
remained a staple on Broadway as the second longest
Emily Schmid, Education Programs Manager
running Broadway show. (In fact, this was the production I saw!)
Written and Curated by Jordan Ealey, Dramaturg
Designed by Carolyn Donarski What is it that makes this musical such a mainstay in musical theatre? Perhaps it’s the
visionary choreography, originally created by Fosse, that utilizes the dance styles
of tap and jazz. Maybe it’s the glamour of 1920s Chicago and the representations
of the fashionable flappers and fast-talking slang of the period. It could even be the
show’s unflinching humor that eases audiences into discussing the violent topics in
the musical, such as murder. It is most likely a combination of these elements that
makes Chicago such a well-received and long-lasting Broadway staple.

In the pages of this study guide, you’ll learn more about the history of the show (and
1321 Pennsylvania Avenue NW Washington, DC 20004
its many adaptations), the style of vaudeville that informed the show’s structure and
[Link] staging, the legacy and vision of the show’s original choreographer, Bob Fosse,
and how Chicago uses principles of equity and inclusion in its casts. Chicago is a
©NTF2022, Jordan Ealey. For inquires about reproduction rights, please contact
musical that has “all the jazz”; I hope it “razzle dazzles” you, too.
The National Theatre Foundation at information@[Link].

Jordan Ealey, Dramaturg

3
WHAT’S VAUDEVILLE?
In Chicago, the musical, dance, and performance
styles are influenced heavily by a genre called The most important thing to understand about
vaudeville. Vaudeville was also a crucial genre vaudeville is that people used it as a way to relax
that influenced what we now know as musical from their long days at work. It became popular
theatre. Vaudeville is a part of what is typically for American audiences, especially the working
referred to as “variety theatre” or variety show class, because it offered them an escape from
or variety entertainment, which includes genres the hustle and bustle of their busy and chaotic
like sketch comedy, magic shows, acrobatics, lives. Unlike “highbrow” forms of entertainment
juggling, and ventriloquism. The idea of this kind such as opera or plays, vaudeville had low ticket
of popular entertainment dates back all the way prices that allowed it to be accessible to all kinds
to the Roman empire, where the Roman people of people from different backgrounds. However,
a person who would go to see chariot racing, acrobatics, and vaudeville was also home to some troubling
often
organizes and other shows in that similar genre. Vaudeville tropes, which included blackface minstrelsy, as
rts,
finances conce began to rise in the United States following the much of the style of performance in the genre
s,
plays, or opera
decades after the Civil War, when Americans comes from this. Blackface minstrelsy was a
le were looking for some things to entertain them. practice where white actors and performers
performing a ro Though it’s not necessarily clear where the “first” would paint their faces Black and act as they
at
in stage arts th form of vaudeville came from, some historians imagined Black people to act.
elite or
at of high cult
is similar to th attribute the emergence of vaudeville to Antonio ure
sion
a film or televi
Pastor, an impresario and variety performer. He is Surprisingly, some Black performers used
also sometimes called the “Dean of Vaudeville.” blackface makeup in their performances. During
producer. In 1881, Pastor created the Tony Pastor’s New this time in the late nineteenth and early twentieth
Members of the Walker and Williams Troupe performing vaudeville. Image via NYPL

Fourteenth Street Theatre, where he housed century - which is the time directly following the
variety performers that led to vaudeville. The Emancipation Proclamation that brought an end
theatre, known to the public as Tony Pastor’s, to American slavery - it was difficult for Black into a vaudeville show! Remember, a lot of the vaudeville shows was the appearance of being
became one of the most popular theatres of artists to get opportunities to perform. Therefore, audience members who attended vaudeville spontaneous. By this, it means that audiences
the 1880s. This cemented Pastor’s legacy as a vaudeville, even with some of its problematic wanted escape and were tired from their work preferred performers who did not look like they
producer who “cleaned up” variety entertainment elements, provided them with chances to show days. So vaudeville performers (who were called were performing; they liked it when it seemed like
and created vaudeville. off their theatrical talents. Bert Williams is said to vaudevillians) saw their job as having to “wake” the shows were not rehearsed (even though they
be one of the first Black celebrities; he received the audience up. This included performers who were). In both of these elements, it’s clear that the
his early career success through vaudeville. He might introduce a song by saying they had a audience is a big component of the show.
would go on to have an incredibly successful “special request” to sing. Another element of
theatrical career: he would star alongside his
performance partner, George Walker, in In
Dahomey, the first musical by Black people to
make it to Broadway and would be one of the first
where people are
Black cast members in an integrated Broadway
show! All of this became possible through ACTIVITY: FIND THE VAUDEVILLE! speaking
taking advantage of the vaudeville stage. Other
These are just some history, development, and characteristics involved in where peop
successful vaudeville performers included Aida le are
Overton Walker, The Hyers Sisters, Bessie Smith, vaudeville. So now it’s your turn! Based on what you know about vaudeville,
dancing
Eubie Blake, and Noble Sissle, among others. challenge yourself to find three moments in Chicago where you can see the
vaudeville influence. If you really want to push yourself, see if you can find a
So, now that we’ve covered some of the history
moment of dialogue, song lyric, and choreography influenced by vaudeville!
of vaudeville, let’s talk a little bit about what goes

An original image of Tony Pastor’s New

Fourteenth Street Theatre playbill, 1881.
Source

4 5
 THE OL’

SATIRE AND COMEDY

Another element that is often focused on in variety entertainments like vaudeville is satire. Satire is
the use of humor, irony, exaggeration, or ridicule to expose and criticize people’s stupidity or vices,
particularly in the context of contemporary politics and other social issues. In other words, satire is used to
IN CHICAGO
make fun of something. (A good example of this is Saturday Night Live.)

Chicago uses a lot of satire to make fun of the ridiculousness of the American legal system, which is
Give ‘em the old flim flam flummox
found in the way they stage scenes involving prisons and court rooms. One of the songs, “Razzle Dazzle”
Fool and fracture ‘em
is a great example of this. Let’s take a look at how “Razzle Dazzle” uses satire.
How can they hear the truth above the roar?
Throw ‘em a fake and a finagle
Where is this in the show? They’ll never know you’re just a bagel,
This song comes right before the musical’s climax, where Roxie will find out her fate in the trial.
Razzle dazzle ‘em
Billy is advising her that things will be fine, as long as she can put on a show.
And they’ll beg you for more!
the
int of tension in
The highest po
tre production. Give ‘em the old double whammy
The song story of a thea
sets up th Daze and dizzy ‘em
idea of a e These lines refer
show bein Back since the day of old Methuselah
put on. Th g to dancing as a form
Everyone loves the big bamboozaler
e court
room is tu Give ‘em the old three ring circus of distraction. He is
rned into
theatre a a Stun and stagger ‘em depending on the jury
nd Billy a
Roxie are n d not being very observant.
putting on Give ‘em the old razzle dazzle When you’re in trouble, go into your dance
a Though are you are stiffer than a girder Also think back to the
show! Razzle dazzle ‘em
Give ‘em an act with lots of flash in it They’ll let you get away with murder relaxed, distracted
Razzle dazzle ‘em audience of vaudeville—
And the reaction will be passionate see
r ic , n o one can And you’ve got a romance the court room is just a
In this ly somethin
g in
h a v e vaudeville stage!
Give ‘em the old hocus pocus
if they e re, Billy
is
e s . H COMPANY (with Billy):
Bead and feather ‘em
their ey ng the
How can they see with sequins in their eyes? in g a b out fooli The use of the
term Give’ em the old
talk d glam
What if your hinges all are rusting? w it h glitz an “first-rate” whi
ch means Razzle dazzle
jury y can
What if, in fact, you’re just disgusting? s a y in g that the amateur or not
very good Razzle dazzle ‘em
and He is
on to it. y thinks that
Razzle dazzle ‘em
never c a t c h
on of shows that Bill
xaggerati en have to
e Roxie doesn’t ev
e BILLY:
And they’ll never catch wise!
using t h eyes
in one’s skilled
g be particularly
e in Show ‘em the first rate sorcerer you are
sequins b t!
Give ‘em the old razzle dazzle s t r a te that poin at doing so. Long as you keep ‘em way off balance
Referring to the ways
to illu
How can they spot you’ve got no talents
Razzle dazzle ‘em Velma and Roxie have
Give ‘em a show that’s so splendiferous Razzle dazzle ‘em
been able to gain fame
Row after row will crow vociferous Razzle dazzle ‘em
from something so terrible
And they’ll make you a star!
like committing murder.

6 7
 THE INCLUSIVE CASTING OF
CHICAGO ON BROADWAY
THE INFLUENCE OF BOB FOSSE Musicals featuring women of color can be very few and far between. Chicago,
fortunately, has a really long history of casting actors of color in its leading roles!

Bob Fosse is one of the most influential

choreographers in Broadway musical theatre

Source
history. He is the most awarded choreographer
in Tony Awards history, winning for Best
2
Choreographer eight times for shows such as The

urce.
c Library, So
Pajama Game, Damn Yankees, Sweet Charity,
and Pippin, among others. Fosse also won an

w York Publi
Oscar for directing the film version of the musical,
Cabaret, and has been nominated for his work

ope/The Ne
on other films like Lenny and All That Jazz. Along
with choreographing the original production

Martha Sw
of Chicago, he also co-wrote the book to the
musical.

1
How can you spot some Fosse choreography?
Look out for finger-snapping, titled bowler hats,
net stockings, gloved fingers that are spread
3
Getty Images, Source

out, turned in knees and toes, and signature 1 Kirsten Childs (right)
shoulder rolls. Fosse himself calls it “the amoeba.” as Velma Kelly in the 1979
His dance style combines elements of jazz, Chicago national tour
ballet, tap, and cancan - just to name a few.
The influence of his work is not only felt and 2 Chita Rivera as Velma
seen across musicals until this day, but also with Kelly in the original
popular musical artists such as Michael Jackson Broadway production

rce.
and Beyoncé.

Jeremy Daniel, Sou

3 Angelica Ross as
Roxie Hart—the first trans
woman to portray the role
on Broadway!

5 Brandy as Roxie Hart

l, Source.
4

, Source.
4

Jeremy Danie
5 Usher as Billy Flynn

York Times
Getty Images, Source

he New
DeChillo/T
Suzanne
ACTIVITY
Put yourself in the shoes of a casting director.
How would you cast this show inclusively?
What kinds of actors would you want to highlight?

8 9
BIBLIOGRAPHY
Buckner, Jocelyn. “Spectacular Opacities: The Hyers Sisters’ Performances of Respectability and Resistance.”
African American Review 45.3 (2012): 309–323.

Chude-Sokei, Louis. The Last Darky: Bert Williams, Black-on-Black Minstrelsy, and the African Diaspora.
Durham: Duke University Press, 2006.

Goldfarb, Alvin and Edwin Wilson. Living Theatre: A History of Theatre. New York: W.W. Norton, 2017.

Monod, David. Vaudeville and the Making of Modern Entertainment, 1890-1925. Chapel Hill: University of
North Carolina Press, 2020.

Rogers, Bradley. The Song Is You: Musical Theatre and the Politics of Bursting Into Song and Dance.
Iowa City: University of Iowa Press, 2020.

Wasson, Sam. Fosse. Boston: Houghton Mifflin Harcourt, 2013.

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