Chicago Study Guide

7/21/2019 Chicago Study Guide

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Study Guide

Chicagois suggested for mature audiences.

This study guide is intended for junior high and high school students only.


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Copyright (C)2005 Theatre Under The Stars, Houston, Texas, USA. All Rights Reserved.

Permission is granted to teachers and to schools and other educational institutions to copy

and distribute this publication without profit for their student's personal, educational use.Teachers are granted permission to quote and excerpt from this publication provided that the

quoted/excerpted material is appropriately attributed.

Study Guide developed by Peggy Tsai.


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Table of Contents

Section I: Introductiona. Brief History of TUTS1

b. Purpose of study guide1

Section II: Musical Theatre 101a. What is musical theatre? 2b. Brief History2-3

c. Elements of Production3-5

d. How is it different from other media?.5e. Why is it important? ...5f. Glossary....6-8g. How a Musical is Born....9h. Theatre Etiquette ...10

i. Review Questions and Activities..11-12

Section III: About the Show - Chicagoa. Background...13

b. Creative Team...14c. Characters and Song List..15

d. Synopsis....16

Section IV: Junior High & High School Curriculuma. Discussion Questions/Written Assignments Dig a Little Deeper17

i. Historical Context..17

ii. Theme17iii. Symbolism.17

b. Projects Get Creative!.18i. Review the Show Two Thumbs Up!18

ii. Analyze Characters Be a Star!18

iii. Write a Musical Write Your Own!..18

Section V: Supplemental Materiala. Article Chicago: The True Murders that Inspired the Movie..19-20

b. Song Lyrics21-30All That Jazz21-22Cell Block Tango.23-26

When Youre Good to Mama..27

A Little Bit of Good28Razzle Dazzle..29-30

c. References...31


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CHICAGO Study Guide Theatre Under The Stars

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Section I Introduction

History of Theatre Under The Stars

Theatre Under The Stars (TUTS), founded in 1968 by Frank M. Young, is Houstons acclaimedmusical theatre production company. During its 34 seasons, TUTS, one of Americas largest

non-profit producers of musical theatre, has produced a total of 39 Premieres, including 11

World Premieres, one U.S. Premiere, three Southwest Premieres, and 24 Houston Premieres.

TUTS name originates from performing in its first venue, the Miller Outdoor Theatre in

Hermann Park. This outdoor setting truly provided spectators "theatre under the stars." TUTS

was the first theatrical organization in Houston to perform free to the public at the Miller and hassince performed there each summer, giving Houston 42 lavish musicals. TUTS is the only

Houston arts institution to perform every summer without interruption since the theatre opened

in 1968. In July 1999, TUTS set a Miller Outdoor Theatre all-time attendance record with an

audience of 91,000 for Grease.

TUTS established the Humphreys School of Musical Theatre (HSMT) in 1972 as its officialtraining wing. Today, HSMT continues to provide instruction and stage experience for more than

1,000 students annually. Established with a grant from the Humphreys Foundation of Liberty,

Texas, HSMT trains students, ages four through adult, in acting, voice, dance and musical theatre

technique during school semesters and through on-going workshops. Students perform in a fully-staged end-of-term musical and may audition for juvenile roles in TUTS major musical

productions.

Purpose of Study GuidesTUTS has designed online study guides such as this to enhance students theatrical experiences.Using the guide, teachers can encourage their students to explore both the story and the

production elements of the show. Live theater can enrich young peoples lives like few otherexperiences. The study guide contains various questions, projects, and activities that allow

students to engage in literary analysis, historical research, and personal reflection. TUTS hope is

that these young people will be able to gain a greater understanding and appreciation for musical

theatre.

No child is fully educated or adequately prepared to live in anincreasingly technological world without understanding the meaning

and beauty transmitted by the arts.-J.P. Getty Trust

Beyond Creating a Place for Art in Americas School, 1985


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Section II Musical Theatre 101

What is Musical Theatre?

Musical theatre is defined as the presentation of a story using the elements of music, singing,dancing, on a stage in front of a live audience. This art of telling stories either through or with

songs dates back to time immemorial. The ancient Greeks included music and dance in many of

their stage comedies and tragedies as early as the 5th Century B.C. Staged in open-air

amphitheatres, these plays featured humor, political and social satire, jugglers, and anything elsethat might entertain the masses. While these plays had no direct effect on the development of

musical theatre as we know it, they prove that musicals have been around for at least 2500 years.

History of Musical TheatreThe origins of the musical trace all the way back to story telling ballads. The ballads were stories

in songs, passed down orally from generation to generation. In 1597,Dafne, the first operaemerged. Like ballads, opera told stories through music. However, opera is written down and

performed on stage. And from opera, the operetta, literally meaning little opera, developed.Relative to its predecessor, operettas dealt with less serious topics and used more dialogue.

Finally, in 1866, the very first musical, The Black Crookby Charles M. Barras and Giuseppe

Operti, was performed in New York. However, American musical theatre did not establish itsown identity until after the turn of the twentieth century.

George M. Cohan--librettist, lyricist, and composer, was a powerful influence in creating a truly

native musical art form. Not only were the settings and characters of Cohan's musicalsthoroughly American, but his dialogue, lyrics, and melody had the spirit of energy and pride that

were unmistakably American. Cohan also established some of the procedures governing musical-comedy writing. Any plot, however improbable, was possible just so long as it could be theframe for songs and dances. For many years, American musicals were governed by this

principle.

However, efforts were made to break loose from the rigid formula. The greatest revolution in

American musical theatre up to that time came in 1927 with Show Boat, by Oscar HammersteinII and Jerome Kern. The show featured popular music, such as jazz and gospel, which separatedShow Boatfrom both operetta and all the musicals before it. Here was a complete integration of

song, humor, and production numbers into a single and inextricable artistic entity; a musical witha consistent and credible story line, authentic atmosphere, and three-dimensional characters.

Then came the first of the Rodgers and Hammerstein masterworks, Oklahoma!, in 1943, with

which musical theatre finally became a significant American art form. According to Rodgers,By opening the show with the woman alone onstage and the cowboy beginning his song

offstage, we did more than set a mood; we were, in fact, warning the audience, 'Watch out! This

is a different kind of musical. The national tour of Oklahoma!ran for an unprecedented tenyears, playing before a combined audience of more than ten million people. In 1955, Oklahoma!

was made into a film where it also found great success.


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During the late 1950s and early 1960s, popular music began to change with rock n roll

becoming more mainstream. This trend influenced musicals such as West Side Story(1957) andBye Bye Birdie(1960) to feature more popular, contemporary music.Hairin 1968 continued thismovement by incorporating rock music and storylines based on the hearts of the younger

generation.

And setting a pattern that would redefine Broadway, Catspremiered in 1982, introducing

opulent sets, extravagant costumes and makeup, and over-the-top special effects. The visual

spectacle was unlike the painted backdrops and simple costumes seen in the past. Catshas now

become the longest-running show in Broadway history.

Then cameRentin 1996, which revolutionized the very concept of musical theatre around the

world.Rentblended pop, dance, salsa, rhythm and blues, gospel, and rock music together to tellits moving tale of hopes and dreams, while also addressing the serious and controversial issues of

homelessness, AIDS, and drug addiction.Rentnot only challenged the mainstream, butreinvented it. Shows followingRentsuch asRagtime(1998) and Wicked(2003) also contained

intricate storylines and unique styles of music, while addressing social and political issues.

Elements of ProductionA musical is much more than the two and a half hour show the audience sees. The production

process often takes many months, even years, to complete.

Creative TeamNo musical would be possible without the imagination or inspiration of its authors. Many times,

the idea for a show grows from an existing book, play, article, or movie. Other times, authors

write musicals from an original idea or concept. Once an idea is developed, composersand

lyricistsbegin to write the songs. The music needs to not only fit the overall tone and pace of themusical, but also contain lyrics that help the audience understand the story and its characters.

The choreographerdesigns dance sequences for the performers. The dances are intricatemovements that allow the performers to express the meaning of each song. The director works

with all of them to help guide the overall artistic vision of the show.

CastThe director works with the casting agentto castboth the principal performers and the

ensemble orchorus members. Each performer must have a well-trained singing voice, actingskills, the ability to dance, and fit the look of his/her character. These elements are all evaluated

during the audition process. Actors are asked to bring a headshot as well as perform two pieces,

one uptempo songand one ballad. Those who are not chosen for a principal role through theauditioningprocess sometimes become standbysor understudies, who take over the part when

the leading actor is unable to perform. There are also swings, who serve as backups for ensemble

or chorus members.

RehearsalThe cast will do an initial read-throughof the script, without singing or dancing, followed by

additional practices with the rehearsal pianist. The music directoror conductorteaches and


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rehearses the music with the orchestra and is responsible for the musical aspect of the

production. The dance captain, sometimes together with the choreographer, teaches and

rehearses the dance sequences with the performers. During rehearsals, the director coaches theactors reading of the lines and emotions and also gives them their blocking, line by line, scene

by scene. Next, the cast does a sitzprobe, where they sit and sing with the orchestra before

incorporating any staging, scenery, costumes, or props. Eventually, the cast does awanderprobe, where they run through the show, including movements and dancing, while the

orchestra plays. The technical rehearsalis when the full cast and crew walk through the entire

show, ensuring every light cue, sound effect, microphone, etc. works as planned. This rehearsal

is mainly for the tech staff. The cast and crew will also go through a dress rehearsal, manytimes more than one, to bring all the different elements (costumes, music, dance, lights, sound)

together.

CrewThe set designercreates the locale and period in which the musical occurs. While some sets are

very simple and focuses the audiences attention on the show itself, some are lavish and

extravagant, providing visual appeal. The head carpenteris responsible for building the actualset. The lighting designerdecides where the lighting instruments should go, how they should be

colored, and which ones should be on any particular time. The electricianimplements thelighting designers work and makes sure the lights are set properly and safely. The property

(props) masteris in charge of obtaining or making and maintaining all props used in the show.

He or she also sets the props in their proper places before the show begins. There is also aflyman, who operates the flying system (if necessary), and controls the raising and lowering of

backdrops, light set pieces, and the curtain itself. When young performers (18 and younger) need

extra guidance and direction, the child wranglerhelps them through the rehearsals andproduction for a smooth and successful show. The stage manageris responsible for the overall

integrity of a production. He or she assists the director by calling out forgotten lines during

rehearsals, and calls the show, making sure each performance runs as smoothly as possible.

SoundThe sound designerplans the layout of all sound playback and equipment for the show and

adjusts the pitch, volume, duration, and overall quality of the music to meet each specific scenesneeds. The sound operatorexecutes the sound designers plans and handles the mixing

equipment for the show. Music and sound must fit the context in which they are used. Theadjustments are made using the soundboard. The sound effects designeris responsible for

creating or enhancing sounds distinct from music and dialogue, such as doorbells or running

water.

Costumes and MakeupThe costume designerfirst researches the setting of the musical. Costumes must be appropriate

for the time period and culture of the show, beautiful and elaborately designed, while also

practical enough to all for movement and dance. He or she then decides which styles and fabricsto use, and draws the costumes in renderings. Through costume fittings, the tailoradjusts the

outfits to fit each individual performer. During dress rehearsals and performances, actors have

dressersto help put on his or her costume. The ensemble or chorus members also have dressersto help them change during quick character or scene transitions. The makeup artistis

responsible for applying cosmetics to each performers face and body to increase visibility,


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enhance certain features, and modify the actors look to resemble his or her character. In addition

to makeup, certain roles call for a specific hairstyle. The wig master/mistressobtains the wigs,

styles and shapes them, and helps the actors put them on.

Audience

At the front of the theater, audience members will see a marqueedisplaying the name of theshow being performed that night. After purchasing tickets at the box officeand entering the

theater, audience members will receive a program, which provides information about the show,

actors biographies, a song listing, characters, scenes, and possibly a synopsis. An usherescortsthem to their seats, which may be in the boxes, orchestra, mezzanine, or gallerysections. Each

show begins with the overture and is separated into two acts by a fifteen-minute intermission. At

the end of intermission, the entracte plays, signaling the start of act two. The show ends with thefinale. Audience members will then give a standing ovation if they felt the show was

exceptionally good. The house manageroversees all aspects of the audience, including

supervising the ushers and contacting the stage manger about any audience delays for starting the

show or ending intermission.

How is Musical Theatre Different from Other Media?The live theatrical experience not only involves the actors on stage, it also involves the audiencein ways that film and television do not. In reality, although the audience is sitting in an

auditorium and the actors are on stage, there's very little separating the audience from the

performers. How the audience reacts to the show deeply affects the actors. Something seeminglytrivial like whispering or unwrapping a piece of candy can distract the actors and alter the mood

and tone of their performance. Another difference of film, video or television is that the camera

and editing define what the audience sees. In the theater, however, each member of the audience

works as a camera and editor, choosing his or her personal points of focus. The wonders ofmovies and television are remarkable, but often provide an isolated experience. Being part of the

communal magic when performer and audience connect at the theater cannot be duplicated.

Why is Musical Theatre Important?Musical theatre can help students grow academically, aesthetically and personally. Musical

theatre writers, lyricists, and composers have long looked to literature for their inspiration and

subject material. As a result, students have the opportunity to engage in literary analysis of both

the story and its inspiration. Elementary students can begin to explore plot and characters, whilejunior high and high school students can delve into theme, symbolism, and historical context.

Students will also have the opportunity to discover how music, dance, lighting, backdrops, etc.

contribute to the show. Musical theatre allows young people to explore the elements ofproduction beyond television and film, and gain a greater appreciation for the arts.

Musical theatre can bring students together, build confidence and solidarity, and stimulate

discussion. Furthermore, with shows that address political or social issues, musical theatre

encourages young people to reflect on these issues, explore alternative options for action, and

build a personal commitment to change.


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Glossary

Author the writer of a musical script

Auditioning to perform in order to get a role in the production; usually includes singing,

dancing, and reading scenes from the show

Ballad a slow, romantic song for actors to showcase vocal clarity

Blocking the specific movements of actors on stage

Box- a separate compartment of seats usually elevated on the sides of the theater, for the

accommodation of VIPs

Box office a booth inside the theater where tickets are sold

Calling the Show- the process of calling out the lighting, sound, and scene-change cues during

a performance usually done by the stage manager

Casting the process through which actors are chosen for roles in the production

Casting agent one who chooses actors for roles in the production

Child Wrangler one who works with child performers

Choreographer one who designs dance sequences

Composer one who writes music

Conductor one who directs the orchestra

Dance captain one who teaches and rehearses dance sequences with the performersDirector one who supervises the creative aspects and guides the artistic vision of the

production

Dress Rehearsal rehearsal in which performers practice with costumes and props

Dresser one who assists performers with their costumes during dress rehearsals and shows

Electrician one who works with the lighting designer to adjust and operate lighting

instruments

Ensemble / Chorus a group of singers, dancers, or actors who perform musical numbers

Flyman one who pulls the curtain before and after performances and operates the flying

system, if one is used

Gallery the section of seats in a theater farthest away from the stage; separated into front

gallery and rear gallery

Head Carpenter one who builds the sets for the production


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Headshot a photograph of an actor from the shoulders up and lists his or her credits on the

back

House Left the left side of the theater, when facing the stage (audiences point of view)

House Manager one who oversees all aspects of the audience; responsible for ushers andaudience safety

House Right the right side of the theater, when facing the stage (audiences point of view)

Lighting designer one who decides where the lighting instruments should go, how they

should be colored, and which ones should be on at any particular time to affect mood, visibility,

and to showcase costumes and sets

Lyricist one who writes the words to a song

Makeup Artist one who applies cosmetics to a performers face and body

Marquee a signboard projecting over the theaters entrance

Mezzanine the middle section of seats in a theater between the orchestra and the gallery;

separated into front mezzanine and rear mezzanine

Music director one who teaches and rehearses the music with the orchestra

Orchestra the section of seats in a theater immediately behind where the orchestra sits

Principal performers the leading actors, those who portray the major roles

Program- a listing of the order of events, names of the cast and crew, and other relevant

information for the production

Property (props) Master one who manages all items used on stage that cannot be classified as

scenery, electrics or wardrobe

Read-through the cast reads through the script without movement or music

Rehearsal Pianist one who plays the piano for early-stage rehearsals

Set designer one who creates the scenery for the stage

Sitzprobe the first rehearsal with both the performers and the orchestra, with no staging or

dancing

Sound Designer one who plans and executes the layout of all sound playback and equipment

for the show

Sound Operator one who handles the sound playback and mixing equipment for the show;

works with the sound designer


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Sound Board a desk comprising a number of input channels where each sound source is

provided with its own control channel through which sound signals are routed into two or more

outputs; changes the quality of the sound

Sound Effects Designer one who creates or enhances sounds that are not part of the music ordialogue

Standby / Understudy one who studies a role and is prepared to substitute the principal

performer when needed

Stage Left the left side of the stage, when facing the audience (performers point of view)

Stage Manager one who is responsible for the quality of the shows production, assists the

director and oversees the show at each performance

Stage Right the right side of the stage, when facing the audience (performers point of view)

Swings one who is prepared to substitute for ensemble or chorus members who are unable to

perform

Tailor one who alters garments to fit a persons specific measurements

Technical Rehearsal- rehearsal incorporating the technical elements of a show, such as the

scene and property shifts, lighting, sound, and special effects

Uptempo song a fast, upbeat song for actors to showcase dancing and acting ability

Usher one who guides audience members to their seats

Wanderprobe rehearsal in which the performers practice singing and dancing on stage while

the orchestra plays

Wig Master/Mistress one who obtains and customizes wigs for performers to wear


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How a Musical is BornFor High School / Advanced Students

The inspiration for a musical comes from many different places. Authors may conceive an idea

themselves, or they might be commissioned by a producer to write a musical on a specificsubject. Many times, musical theatre draws on material from existing plays, books, movies, andother sources for a new show.

Screen to StageScreen-to-stage musicals are based on existing movies. Authors adapt the material to fit musical

theatre, possibly adding songs and changing dialogue. Some examples of successful movie-

turned-musicals are Singin in the Rainin 1985 (movie 1952),Beauty and the Beastin 1994(movie 1991), The Producersin 2001 (movie 1968), andMary Poppinsin 2004 (movie 1964).

Concept MusicalsConcept musicals are built around a single idea rather than a traditional plot. Once a concept is

raised (love, hate, friendships, relationships, etc.), characters can comment on or act out variousaspects of the subject. There is a storyline, but it exists in order to illustrate the central concept.

Some well-known concept musicals include Company(1970),A Chorus Line(1975), andAssassins(2004).

Stage to ScreenStage-to-screen musicals are musical theatre shows that have been made into movies. Hollywood

filmmakers choose popular musicals to guarantee a hit movie. Though this is not always true,

some successes include Greasein 1972 (movie 1978), Chicagoin 1975 (movie 2002), Phantomof the Operain 1988 (movie 2004), andRentin 1996 (movie 2005).

RevisalsThis is the age of the "revisal", when old musicals are reinvented in new productions. The newshows usually have the same basic storyline, with revisions to the music and artistic style. An

example of a revisal is Chicago (1996), which originally premiered in 1975. A revisal is different

from a revival in that revivals make no change to the old production. For example, Fiddler on theRoofpremiered in 1964, and the same production has been revived in 1976, 1981, 1990, and

2004, usually unchanged from its original incarnation.

Workshop MusicalsUnlike traditional musicals, workshop musicals do not have a single author and the plot is not

completely established before the production process begins. These musicals are developed bymultiple members of the creative team through brainstorming sessions or workshops.

Workshop musicals are relatively new and are setting a new trend for future shows.

Review Questions1.Name the five types of musicals. Explain the advantages and disadvantages of each one.

2.What are some examples of stage-to-screen musicals? Screen-to-stage musicals?

3.If you were making a screen-to-stage musical, which movie would you choose and why?4.How are workshop musicals different from all the other types?

5.If you were writing a musical, which type would you prefer to make and why?


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Theater Etiquette

Some basic theater etiquette tips:

1. Do not talk, whisper, sing, or hum during the performance. Singing and swayingwith the music or leaning forward in your seat blocks the view of those sitting

behind.

2. Do not eat and drink during the performance. It is distracting to both the

performers and your neighbors.

3. Keep feet on the floor, not on the seat or balcony in front of you.

4. Clap after the songs to show the performers that you are enjoying the show. Also

keep in mind that performers appreciate enthusiastic applause, but not whistling or

shouting.

5. Appropriate laughter, tears, and applause are the best ways to express your

feelings about the performance.

6. Stay until the end of the show and clap during the curtain call to say thank you

to the performers.

7. No electronic devices should be brought into the theatre, and please silence allcell phones, pagers and watches.


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Review QuestionsThe following questions are intended to help students learn the basics of musical theatre. These

may be used for class discussion or given as homework/written assignment.

Checking for Understanding1. What is the definition of musical theatre?

2. How have the ancient Greeks contributed to musical theatre?

3. How did George M. Cohan shape the American musical?

4. Which was the first show to not follow Cohans formula? How was it different?

5. What do West Side Story,Bye Bye Birdie, andHairhave in common?

6. How has Catscontributed to broadway?

7. What is the significance ofRent?

8. What are the three differences between musical theatre and television or film?

9. How can musical theatre help people grow academically? Artistically? Personally?

10.Name the eight major elements of production and summarize each one.

11.What are four major theatre etiquette tips?

Critical Thinking1. What do you think are some major differences between ancient Greek theatre and

musical theatre as we know it today?

2. What do you think influenced George M. Cohan to write the musicals the way he did?

3. How did West Side Story,Bye Bye Birdie, andHairreflect young peoples attitude in the

late 1950s 1960s?

4. Why do you think Jonathan Larson, the writer ofRent, hoped to accomplish by

addressing the issues seen in the musical?

5. The actors perform the same show each night, but how could you make the experience

unique and personal to you?

6. What do you hope to gain from experiencing musical theatre?7. Is there one element of production that is more important than all the others? Explain

your answer.

8. The audience does not participate in the making of the show, so why are they important

to a musical production?

9. If you were to teach a child how to behave at the theater, what would you tell them?


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ActivitiesThe following activities and projects are intended to encourage students in furthering their

understanding of musical theatre. They may be used as class assignments or take-home projects.

1st

5th

Grade

A. EvolutionObjective: to learn the major shows throughout the history of musical theatre

Action: Have students create a timeline of the major musicals (Show Boat, Oklahoma,

West Side Story, Bye Bye Birdie, Hair, Cats, Rent, Ragtime, Wicked) and draw pictures to

represent each one.

Materials: construction paper, crayons/markers/colored pencils

B. Everyones a Star!Objective: to learn the elements of production in musical theatre, stimulate imagination,develop teamwork skills, build self-confidence

Action: As a class, choose a story and act it out, incorporating music with real or

homemade instruments.Suggested Stories:Hansel and Gretel, Little Red Riding Hood, Three Little Pigs, Johnny

Appleseed, Rapunzel, Rumpelstiltskin

Materials: homemade or real instruments, props (optional)

6th

12th

Grade

A.InspirationObjective: to learn how historical context affects and inspires musical theatre, develop

research and public speaking skills

Action: Have students choose a musical to research and present on how the show reflects

the times in which it was created, including historical figures and relevant social orpolitical issues. Encourage students to watch videos of the show, study song lyrics, and

research the time period in which the musical was written.

Suggested Shows: Oklahoma, West Side Story, By Bye Birdie, Chicago, Annie, Rent

B. DebateObjective: to learn the differences between various media, develop public speaking and

verbal expression skills, encourage self-expression

Action: Divide the class into three groups. Have each group choose a form of media

television, movies, or theatre -- and debate one another on which medium is the best.Make sure students support their claims with specific benefits and limitations of each

medium.


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Section III About the Show

Chicagowas written by Fred Ebb and Bob Fosse with music by John Kander. The show

originally premiered on June 3, 1975 at the Richard Rogers Theatre in New York City.

Despite being nominated for ten Tony Awards in 1976, including Best Musical and Best

Original Score, Chicagos dark humor and cynical songs about Americas justice system

did not appeal to audiences during the 1970s, and thus was overshadowed by feel-goodmusicals likeA Chorus Line.

However, its revival in 1996 has now become longest running musical revival in

Broadway history and won six Drama Desk Awards, five Outer Critic Circle Awards, and

six Tony Awards. In 2002, Miramax, starring Hollywood superstars Renee Zellweger,

Catherine Zeta-Jones, and Richard Gere, made Chicagointo a movie. The film, like the

musical, has had great success, winning six Academy Awards in 2004.


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The Creative Team

Fred Ebb (Lyricist, Co-Author)

Fred Ebb's career has encompassed writing lyrics for the stage, the silverscreen, and television, in addition to directing and producing. He has received

Tony awards on Broadway, Academy Awards for movie work, and Emmys for

his work for television. His songs have helped launch careers and have been

sung by legends like Judy Garland, Liza Minnelli, Barbra Streisand, and FrankSinatra.

Bob Fosse(Co-Author)A director, choreographer, dancer, and actor for films and stage, Fosse was

especially famous for his innovative and spectacular staging, with the emphasis

on exhilarating dance sequences. In 1973, Bob Fosse had the distinction ofwinning the three highest awards in three different media. He won a Tony

Award for the musical Pippin, an Oscar for the film Cabaret, and an EmmyAward for the television specialLiza with a Z.

John Kander (Composer)John Kander is a composer who has produced award-winning work for theater,

film, and television. He is best known for his collaborative efforts with lyricist

Fred Ebb. Kander began his formal musical training at Oberlin College, andwent on to earn a Master of Arts degree from Columbia University. He made

his Broadway debut in 1962 with a score for the musicalA Family Affair.

While the show was not a success, it nonetheless led to future successes. He hasreceived awards for Cabaret, Chicago, and Kiss of the Spider Woman.

Walter Bobbie (Director)

Walter Bobbie received the Tony, Drama Desk and Outer Critics Circle Awardas Best Director for Chicago. He was the artistic director of City Center's

acclaimedEncores!series and directed its premiere of Fiorello!Bobbie is also

an actor whose work includes Guys and Dolls,Driving Miss Daisy, and theoriginal Grease. Last season, he co-authored and directed the new Broadway

musical Footloose.

Ann Reinking(Choreographer)

Ann Reinking has received the 1997 Tony Award for Best Choreography forChicago, as well as the Drama Desk, Outer Critics Circle, Astaire, and NY

Drama Critics Awards. She has also performed in numerous musicals such as AChorus Line, the original Chicago, and Pippin. Her work in films includesAll

that JazzandAnnie. Reinking is the founder and artistic director of the

Broadway Theatre Project.


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Characters

Roxie Hartdreams of becoming a star, but ends up in jailfor killing Fred Casely, the man she was having an affair with

Velma KellyChicagos star nightclub performer, is in jailfor murdering her sister and husband

Billy Flynn a much sought-after lawyer who successfullymanipulates the media in order to free his clients

Fred Casely a nightclub regular who gets shot by hislover, Roxie

Merry Murderesses the group of women who are allin jail for murder

Amos Hart Roxies husband who willingly takes theblame for killing Fred Casely until he finds out that she was having

an affair with him

Mama Mortonthe jail matron who has set up a give-and-take system with the murderesses

Mary Sunshine a kind-hearted columnist who falls forBillys story about Roxies innocence

Song List

Act I Act IIOverture Entracte

All that Jazz I Know a Girl

Funny Honey Me and My Baby

The Cell Block Tango Mr. Cellophane

When Youre Good to Mama When Velma Takes the Stand

All I Care About Razzle Dazzle

A Little Bit of Good ClassWe Both Reached for the Gun Nowadays

Roxie Hot Honey Rag

I Cant Do It Alone

My Own Best Friend


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Synopsis

Act I

As the Overturecomes to a close, we meet Velma Kelly, Chicagos spotlight chanteuse in prison

for murdering her sister and husband after finding them in bed together. ThroughAll that Jazz,Velma tells us the story of Roxie Hart, an aspiring nightclub performer and fellow inmate. Roxiehas killed Fred Casely, the man she was having an affair with and almost succeeds in blaming

the murder on her husband, Amos Hart (Funny Honey).

Roxie and Velma, along with the other murderesses in Cook County Jail, claim their innocence

through The Cell Block Tango while the jail matron, Mama Morton tells the girls about her give-

and-take benefit system (When Youre Good to Mama).

Velma becomes discontented when she sees Roxie stealing her lawyer, Billy Flynn. ThroughAll

I Care About, Billy sings about his love of legal procedure and the justice system. Billy

rearranges Roxies case and tells it to the sympathetic columnist Mary Sunshine, who alwaystries to findA Little Bit of Goodin everyone. Roxies crime turns into a sob story about her

runaway marriage, foolish affair, and then We Both Reached for the Gun. Through his

manipulation of the media, Roxie becomes medias top murderer-of-the-week with newspaperheadlines like RoxieRocks Chicago!

Velma tries to convince Roxie to re-create her sister act throughI Cant Do It Alone, but Roxie

turns her down, wanting to have all the fame to herself. However, after a new murderess gainsthe press attention, both Roxie and Velmas celebrity fade away. The pair realizes that they can

only count on themselves (My Own Best Friend), and Roxie decides to fake pregnancy in order

to recapture the spotlight.

Act II

After theEntracte, Velma expresses her disbelief of Roxies run of luck throughI Know A Girl,and Roxie sings to her supposed baby inMe and My Baby. Amos proudly claims paternity, but

because nobody pays attention to him, he calls himselfMr. Cellophane.

While Velma tries to show Billy all the tricks she has planned for her trial through When Velma

Takes the Stand, Roxie fires Billy for being too bossy. However, after Roxie finds out that one of

the murderesses is hanged, she immediately rehires him. Billy then teaches her how toRazzle

Dazzlethe courtroom.

After hearing about Roxies ridiculous acts in court, Velma and Mama Morton lament thedemise of Class. Roxie is found not guilty, but another sensational murder occurs and quicklysteals the media attention away from her. Returning to her days as an unknown, Roxie reflects on

her lifeNowadays.

The scene changes to a nightclub, where Roxie and Velma are performing together toHot Honey

Ragas the new hit vaudeville team.


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Section IV Junior High & High School Curriculum

Dig a little deeper

The following questions are intended to encourage students to go beyond just the surface of theplay. With these questions, students will be engaging in literary analysis and possible additional

outside research. These may be used to prompt class discussions or given as a written

assignment.

Historical Context1. Where do you think Fred Ebb and Bob Fosse got their inspiration for Chicago?

2. Is Chicagoreflective of the justice system in the 1920s? Why or why not?

3. Read the article entitled Chicago: The True Murders that Inspired the Movie in Section

V. Did Chicagoaccurately tell the real-life stories that inspired it or did the authors have

to fictionalize some parts for dramatic reasons? Give specific examples to support your

answer.

4. What made Chicagos original premiere in 1975 unsuccessful relative to its revival in

1996?

Theme1. What is the theme of Chicago?

2. Review the song lyrics in Section V. How do the song lyrics or dialogue contribute to the

theme?

3. How is Chicagoa satire?

4. Discuss how shows like Saturday Night LiveandMad TVsatire current events. How are

these television shows similar to or different from musicals like Chicago?

5. Chicagoshows how the media can influence the outcome of court cases. Give some

recent examples of where media has influenced a trial decision.

Symbolism1. What does Mary Sunshines naivet symbolize?

2. At the end of Chicago, one murderess is hanged, but both Roxie and Velma are freed

from jail. What does this show?

3. Read the lyrics for When Youre Good to Mamain Section V. What does Mama Mortons

character and her song suggest about the justice system?

4. Read the lyrics forAll that Jazzin Section V. What does the jazz symbolize?


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Get creative!The following project ideas are intended to enhance students musical theatre experience

through the analysis and creation of art. They may be assigned as in-class written assignments,

take-home projects, or presentations.

Two Thumbs Up!Objective: to understand the elements of a theatre production

Action: After seeing Chicago, pretend you are a critic and

write a review of the production. Using specific examples,

evaluate the music style, performance, scenery, lighting, andcostumes. Be sure to include how each contributes to the

shows overall imagery and tone.

Be a Star!Objective: to develop character analysis skills through role-play,

encourage artistic expression

Action: Choose your favorite or least favorite character and pretend you

are him/her. Using specific examples, explain what it is about his/herattitude, actions, and speech that you like or dislike. Create a collage,

drawing, power point presentation, song, or poem that exemplifies the

character you choose.

Write Your Own!Objective: to develop creative writing skills, stimulate imagination, build self-confidence,encourage teamwork

Action: Get into groups of five. Write a scene based on a recent news story and act it out.Students may choose to write their own songs or find existing songs that are fitting.


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Section V - Supplemental Material

Chicago: The True Murders That Insp ired the Movie

By: Nancy Gupton (National Geographic News)Updated: March 24, 2003

Sizzle, sequins, sex, and murder. It sounds like the stuff of moviesand it is. But the Oscar-winning courtroom musical Chicagois based on true murder cases: a laundry worker and acabaret singer both accused of killing their lovers in 1924.

The stage and screen versions of Chicagostem from one source. Former reporter MaurineWatkins based her 1926 play, Chicago, on her Chicago Tribune stories of two womenBelvaGaertner and Beulah Annanaccused of murdering under the influence of drink and jazz. Butwere Gaertner and Annan anything like the characters Velma Kelly and Roxie Hart?

In 1924, Belva Gaertnerthe model for Velma Kellywas a cabaret singer accused of shooting

her lover in her car, then leaving his body there with a bottle of gin and a gun.

One month later, Beulah Annanthe inspiration for Roxie Hartwas arrested for shooting andkilling her lover in her house. There's no evidence the two ever met outside of jail.

In Chicago, the two women meet on Murderess Row and become rivals in and out of CookCounty Jail. So how do the real cases stack up against the Hollywood version?

In the movie, cabaret vamp Velma Kelly shoots her sister and husband after catching themtogether. Later she says, "I can't remember a thing." In real life, twice-divorced cabaret singerBelva Gaertnerdubbed the "most stylish" woman on Murderess Row by reporter Watkinswas accused of shooting her lover in her car. Gaertner, 38, said she had been drinking and hadno memory of what happened.

Chicago's Roxie Hart, a married wanna-be cabaret star, shoots her paramour, Fred, because hecan't further her singing career, as he promised. She says he was a burglar, but a neighbor ratsher out. In reality, twentysomething, married laundry worker Annanthe "prettiest woman" onMurderess Rowwas accused of shooting her lover, co-worker Harry Kelstedt. She first saidHarry had broken into her home. Later she admitted they were lovers and said she shot himafter he told her he was through with her. Her story changed further over time.

In the movie, after a new arrival to Murderess Row steals media attention from Hart, she liesand says she's pregnant to draw it back. In real life, Annan announced she was pregnant theday after learning a fellow Murderess Row inhabitant received the death sentence for murderingher lover. She never gave birth.

After their trials Hart and Kelly go on to share a stage, bringing the house down. In reality,Annan had no such happy ending. After the trial, she divorced her long-suffering husband, thenwed another man, only to find that he was already married. A breakdown led her to a mentalhospital, where she died in 1928 of causes not generally known. Gaertner may have faredbetter. After her acquittal, she said she planned on remarrying husband number two andtraveling to Europe. What became of her is unknown.

Watkins, a young reporter, hit the jackpot with the Gaertner and Annan cases. Her winking stylehelped land her articles on the front page of the Tribune.


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"In the 1920s people began treating crime with a sense of humor in metropolitan cities," saysEnglish professor Thomas Pauly, whose book Chicagocollects Watkins's play as well asseveral of her original Tribune articles. "They were trying to laugh at crime, to show a sense ofsophistication."

Watkins' articles are full of subtle jabs and strong color. She quoted Belva Gaertner as saying:

"Why it's silly to say I murdered Walter. I liked him and he loved mebut no woman can love aman enough to kill him. They aren't worth it, because there are always plenty more." A monthafter Gaertner's arrest, Beulah Annan was jailed and Watkins gave her case the sametreatment.

Readers ate the stories up. "Her stories made Beulah and Belva celebritiesand helped getthem acquitted" by showing them in a sympathetic light, Pauly says. Both women werepronounced not guilty by all-male juries, apparently sensitive to their charms.

"So Beulah Annan, whose pursuit of wine, men, and jazz music was interrupted by her glibnesswith the trigger finger, was given freedom by her beauty-proof jury," Watkins quipped.

Chicago accurately captures the feel of the city at the time, historians say.

"Movies always exaggerate, of course, but Chicago in the 1920s was a really vibrant, bustlingcity," says Russell Lewis, Andrew D. Mellon Director for Collections and Research at theChicago Historical Society.

In 1924, Prohibition had been in effect for five years. Now that alcohol was illegal, it was morepopular than ever. Gangsters were getting rich off bootlegged liquor, and speakeasies werepopping up all over town.

"You had the introduction of jazz to the broader audience. You had Al Capone and othergangsters," Lewis says. "But Chicago was then, as it is now, a place of hardworking people.

"In the twenties there was also an explosion of mass culture," Lewis says. "It was the heyday of

movies, advertising was coming into its own, radio was coming alongall these were avenuesfor mass communication, and people were hungry for this. "In a lot of these avenues there wasa tendency to sensationalize, especially in the newspapers," Lewis says.

Soon after the Annan and Gaertner trials, Watkins left journalism and went to the Yale School ofDrama. She wrote a play, Chicago, which satirized the trials and the media's role in them.

The play was turned into the movie Roxie Hartin 1942, and then into a Broadway musical bydirector Bob Fosse in 1975.

"Even from the time the play came out, Watkins tried to hide the fact that she had covered thecrimes," Thomas Pauly says. Through his research he came to believe that Watkins laterbecame a born-again Christian and may have been ashamed of her apparent involvement in thewomen's acquittals.

As to the popularity of Watkins's stories, Pauly says: "Crime as entertainment has been aroundsince the Bible. Maurine Watkins made fun of the whole business. She delighted in the carnivalthat she herself created."

As the Mama Morton character says in the movie, "In this town, murder is a form ofentertainment."


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Song LyricsA l l T h a t J a z z

[VELMA]Come on babe

Why don't we paint the town?And all that jazz

I'm gonna rouge my kneesAnd roll my stockings down

And all that jazz

Start the car

I know a whoopee spotWhere the gin is cold

But the piano's hotIt's just a noisy hall

Where there's a nightly brawl

And all that jazz

[VELMA]Slick your hair

And wear your buckle shoes

And all that jazz

I hear that Father DipIs gonna blow the blues

And all that jazz

Hold on, hon

We're gonna bunny hugI bought some aspirin

Down at United DrugIn case you shake apart

And want a brand new startTo do that-

[ROXIE] Jazz

[COMPANY] Skidoo!

[VELMA] And all that jazz

[COMPANY] Hotcha! Whoopee!


[COMPANY] Ha! Ha! Ha!

[VELMA]It's just a noisy hall

Where there's a nightly brawlAnd all that jazz

Find a flaskWe're playing fast and loose

[ALL] And all that jazz

[VELMA]Right up here


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Is where I store the juice

[ALL] And all that jazz

[VELMA]

Come on, babeWe're gonna brush the sky

I bet your lucky LindyNever flew so high

'Cause in the stratosphere

How could he lend an earto all that jazz?

[COMPANY] Oh, you're gonna see your sheba shimmy shake


[COMPANY] Oh, she's gonna shimmy 'till her garters break


[COMPANY]

Show her where to park her girdleOh, her mother's blood'd curdle

If she'd hear her baby's queer

For all that jazz

[VELMA]

And all that jazzAnd all that jazz

Come on babe

Why don't we paint the town?

And all that jazzI'm gonna rouge my knees

And roll my stockings downAnd all that jazz

Start the car

I know a whoopee spotWhere the gin is cold

But the piano's hotIt's just a noisy hall

Where there's a nightly brawl

And all that-

[COMPANY] Jazz

[VELMA]No, I'm no one's wife

But, Oh, I love my lifeAnd all that jazz!

[COMPANY] That jazz!


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Ce l l B lo c k T a n g o

[ANNOUNCER] And now the six merry murderesses of the Crookem County Jail in their

rendition of "The Cell Block Tango"

[LIZ] Pop

[ANNIE] Six[JUNE] Squish

[HUNYAK] Uh uh

[VELMA] Cicero[MONA] Lipschitz!

(4X)

[ALL]

He had it comingHe had it coming

He only had himself to blameIf you'd have been there

If you'd have seen it

[VELMA]I betcha you would have done the same!

[LIZ] Pop

[ANNIE] Six[JUNE] Squish

[HUNYAK] Uh uh[VELMA] Cicero

[MONA] Lipschitz!

[LIZ (Spoken)]You know how people

have these little habitsThat get you down. Like Bernie

Bernie like to chew gum

No, not chew. POP. So I came home this one dayAnd I am really irritated, and

looking for a little sympathyand there's Bernie layin'

on the couch, drinkin' a beerand chewin'. No, not chewin'. Poppin'.

So, I said to him,

I said, "You pop thatgum one more time..." and he did

So I took the shotgun off the walland I fired two warning shots...

...into his head

[ALL]He had it coming

He had it coming

He only had himself to blameIf you'd have been there


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If you'd have heard itI betcha you would have done the same!

[ANNIE (Spoken)]

I met Ezekiel Young fromSalt Lake city about two years ago

and he told me he was singleand we hit it off right away

So, we started living together

He'd go to work, he'd come home,I'd fix him a drink, We'd have dinner

And then I found out,"Single" he told me?

Single, my ass. Not only was he married

...oh, no, he had six wivesOne of those Mormons, you know.

So that night, when he came home,I fixed him his drink as usual

You know, some guys just can't hold their arsenic

[ALL]He had it coming

He had it coming

He took a flowerIn its prime

And then he used itAnd he abused it

It was a murderBut not a crime!

[JUNE (Spoken)]

Now, I'm standing in the kitchencarvin' up the chicken for dinner,

minding my own business,and in storms my husband Wilbur,

in a jealous rage"You been screwin' the milkman," he says.

He was crazy and he kept screamin',"you been screwin the milkman."

And then he ran into my knifeHe ran into my knife ten times!

[ALL]If you'd have been there

If you'd have seen itI betcha you would have done the same!

[HUNYAK (Spoken in Hungarian)]

Mit kersek, en itt? Azt mondjok, hogy a hires lakem lefogta a ferjemet en meglecsaptam a fejet. De nem igaz, en artatlan

vagyok. Nem tudom mert mondja

Uncle Sam hogy en tettem. probaltama rendorsegen megmayarazni de nem ertettek meg...


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[JUNE (Spoken)] Yeah, but did you do it?

[HUNYAK] UH uh, not guilty!

[VELMA]

My sister, Veronica andI did this double act

and my husband, Charlie,

used to travel round with usNow, for the last number in our act,

we did these 20 acrobatic tricks in a rowOne, two, three, four, five...splits, spread eagles,

back flips, flip flops, one right after the other

So this one night before the show we're down at the hotel Cicero,the three of us,boozin', havin' a few laughs and

we ran out of ice, so I go out to get someI come back, open the door, and there's Veronica and

Charlie doing Number Seventeen- the spread eagleWell, I was in such a state of shock,

I completely blacked out. I can't remember a thing.It wasn't until later,

when I was washing the blood off my hands

I even knew they were dead

[VELMA]They had it coming

They had it comingThey had it coming all along

I didn't do itBut if I done it

How could you tell me that I was wrong?

[VELMA] They had it coming

[GIRLS] They had it coming[VELMA] They had it coming

[GIRLS] They had it coming[VELMA] They had it coming

[GIRLS] They took a flower[VELMA] All along

[GIRLS] In its prime

[VELMA] I didn't do it[GIRLS] And then they used it

[VELMA]

But if I'd done it,How could you tell me that I was wrong?

[MONA(Spoken)]

I loved Al Lipschitz

more than I can possibly sayHe was a real artistic guy...


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sensitive... a painterBut he was always trying

to find himselfHe'd go out every night looking for himself

and on the way

he found Ruth, Gladys, Rosemary and Irving

I guess you can say we brokeup because of artistic differences

He saw himself as alive

and I saw him dead

[ALL]The dirty bum, bum, bum, bum, bum

The dirty bum, bum, bum, bum, bum

[Group 1] They had it comin'

[Group 2] They had it comin'

[Group 1] They had it comin'[Group 2] They had it comin'

[Group 1] They had it comin'[Group 2] They had it comin'

[Group 1] All along

[Group 2] All along[Group 1] 'Cause if they used us

[Group 2] 'Cause if they used us[Group 1] And they abused us

[Group 2] And they abused us[ALL] How could you tell us that we were wrong?

[Group 1] He had it coming

[Group 2] He had it coming[Group 1] He only had himself to blame[Group 2] He only had himself to blame

[Group 1] If you'd have been there[Group 2] If you'd have been there

[Group 1] If you'd have seen it[Group 2] If you'd have seen it

[ALL] I betcha you would have done the same!

[LIZ (Spoken)] You pop that gum one more time!

[ANNIE (spoken)] Single my ass

[JUNE (Spoken)] Ten times!

[HUNYAK (Spoken)] Miert csukott Uncle Same bortonbe

[VELMA (Spoken)] Number seventeen-the spread eagle

[MONA (Spoken)] Artistic differences

[ALL] I betcha you would have done the same!


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W h e n Y o u r e Go o d t o M am a

[MAMA MORTON]

Ask any of the chickies in my pen

They'll tell you I'm the biggest mother henI love 'em all and all of them love me

Because the system worksThe system called reciprocity...

Got a little motto

Always sees me through

When you're good to MamaMama's good to you

There's a lot of favors

I'm prepared to doYou do one for Mama

She'll do one for you

They say that life is tit for tat

And that's the way I liveSo, I deserve a lot of tat

For what I've got to giveDon't you know that this hand

Washes that one too

When you're good to MamaMama's good to you

If you want my gravy

Pepper my ragoutSpice it up for Mama

She'll get hot for you

When they pass that basket

Folks contribute toYou put in for Mama

She'll put out for you

The folks atop the ladder

Are the ones the world adoresSo boost me up my ladder, Kid

And I'll boost you up yours

Let's all stroke togetherLike the Princeton crew

When you're strokin' MamaMama's strokin' you

So what's the one conclusionI can bring this number to?

When you're good to MamaMama's good to you!


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A L i t t l e B i t o f G o o d

[MARY SUNSHINE]

When I was a tiny tot

Of maybe two or threeI can still remember what

My mother said to me...

Place rose colored glasses on your noseAnd you will see the robins

Not the crows

For in this tense and tangled web

Our weary lives may weaveYou're so much better off

If you believe...

That there's a little bit of good

In everyoneIn everyone you'll ever know

Yes, there's a little bit of good

In everyoneThough many times, it doesn't show

It only takes the taking timeWith one another

For under every mean veneerIs someone warm and dear

Keep looking...

For that bit of good in everyone

The ones we call badAre never all bad

So try to find that little bit of good!

Just a little, little bit of good

Is someone warm and dear

Keep looking...

For that little good in everyoneAlthough you meet rats

They're not complete ratsSo try to find that little bit of good!


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Ra z z l e Da z z l e

[BAILIFF (Spoken)] Mr. Flynn, his honor is here

[ROXIE(Spoken)] Oh Billy, I'm scared

[BILLY(Spoken)]Roxie, you got nothing to worry about

It's all a circus, kid. A three ring circusThese trials- the whole world- all show business

But kid, you're working with a star, the biggest!

(Singing)

Give 'em the old razzle dazzleRazzle Dazzle 'em

Give 'em an act with lots of flash in itAnd the reaction will be passionate

Give 'em the old hocus pocus

Bead and feather 'emHow can they see with sequins in their eyes?

What if your hinges all are rusting?

What if, in fact, you're just disgusting?

Razzle dazzle 'em

And theyll never catch wise!

Give 'em the old Razzle Dazzle

[BILLY AND COMPANY]Razzle dazzle 'em

Give 'em a show that's so splendiferous

[BILLY] Row after row will crow vociferous

[BILLY AND COMPANY]

Give 'em the old flim flam flummoxFool and fracture 'em

[BILLY] How can they hear the truth above the roar?

[BILLY AND COMPANY]Throw 'em a fake and a finagle

They'll never know you're just a bagel

[BILLY]Razzle dazzle 'em

And they'll beg you for more!

[BILLY AND COMPANY]

Give 'em the old razzle dazzleRazzle dazzle em


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Back since the days of old MethuselahEveryone loves the big bambooz-a-ler

Give 'em the old three ring circusStun and stagger 'em

When you're in trouble, go into your dance

Though you are stiffer than a girderThey'll let you get away with murder

Razzle dazzle 'em

And you've got a romance

[COMPANY] Give 'em the old Razzle Dazzle

[BILLY]

Give em an act that understandableTheyll wait a year til youre available

Give 'em the old Razzle Dazzle

Razzle dazzle 'emShow 'em the first rate sorceror you are

Long as you keep 'em way off balanceHow can they spot you've got no talent

Razzle Dazzle 'em

[BILLY AND COMPANY]

Razzle Dazzle 'emRazzle Dazzle 'em

And they'll make you a star!


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References

Theatre Under the Stars www.tuts.com

American Musical Theatre www.theatrehistory.com

Internet Broadway Database www.ibdb.com

Musicals.net www.musicals.net

Musicals101.com www.musicals101.com

Broadway: The American Musical www.pbs.org/wnet/broadway

Andrew Lloyd Webbers Musicals www.reallyuseful.com

The Rodgers and Hammerstein Organization www.rnh.com

PBS TeacherSource www.pbs.org/teachersource

Playbill www.playbill.com

Talkin Broadway www.talkinbroadway.com

Soundtrack Lyrics Source www.stlyrics.com

Glossary of Technical Theatre Terms www.theatrecrafts.com

Wikipedia http://en.wikipedia.org

Theatre on a Shoestring http://upstagereview.org/Glossary.html

Arts Alive www.artsalive.ca/en/eth/design

Theater Glossary http://theater.about.com

Chicago the Musical www.chicagothemusical.com

Encyclopedia of Composers and Songwriter www.pbs.org/wnet/gperf

Online NewsHour: Chicago the Musical www.pbs.org/newshour/home.html

Chicago Study Guide

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