| The drama begins in Act One in which Roxie Hart | | | | former fame, Roxie and Velma team up to begin |
| murders her lover, Fred Casely, and subsequently | | | | a new double act that shakes Chicago down to |
| attempts to blame her bumbling husband Amos | | | | the core all over again. |
| for the slaughter (though she is soon found out | | | | The entertainment value of the story alone is |
| and arrested). It's in the cell blocks that we are | | | | reason enough to see this show, but for those |
| treated to the infamous musical number "Cell | | | | who want additional motivation, here are five |
| Block Tango," in which several other murderesses | | | | reasons to go see Chicago: The Musical: |
| sing of their crimes. | | | | 1. The Music |
| Other characters introduced are Matron "Mama" | | | | Guaranteed to keep you interested, each number |
| Morton, a corrupt prison warden with a | | | | in Chicago is based on a traditional vaudeville act; |
| favors-exchange system via which she provides | | | | many of them are even inspired by particular |
| mutual services to prisoners, and Velma Kelly, a | | | | famous vaudeville performers, such as Judy |
| vaudevillian charged with the double homicide of | | | | Garland and Mae West. The score itself was |
| her adulterous husband and back-stabbing sister. | | | | composed by John Kander, winner of the Tony, |
| Velma and Roxie soon find themselves in a | | | | Laurence Olivier, Emmy, and Grammy Awards. |
| struggle to win the limelight of fame which Roxie | | | | 2. The Awards |
| ultimately wins when she manages to steal | | | | Chicago: The Musical itself has been the winner of |
| Velma's lawyer, the renowned Billy Flynn, who | | | | a number of awards, including eleven Tony |
| spins the truth concerning the murder of Fred | | | | nominations in the 1976 original run of the show |
| Casely ("They Both Reached for the Gun") and | | | | and a Tony in 1997, the Drama Desk Awards, |
| makes Roxie the toast of Chicago at the | | | | Outer circle Awards, and Drama League Award. |
| expense of Velma Kelly's now-obsolete name. | | | | An Academy Award-winning film adaptation of |
| Roxie turns down Velma's passionate request to | | | | the musical was released to much critical acclaim |
| recreate her former sister act ("I Can't Do it | | | | in 2002. |
| Alone"), only to find that the latest crime to make | | | | 3. The Choreography |
| headlines has all but caused Roxie's name to | | | | The musical Chicago has become synonymous |
| vanish from the public eye as well. | | | | with its choreography, engineered by praised |
| Act two remains just as sordid an affair: Roxie | | | | choreographer Bob Fosse, who himself has won |
| has decided to earn her fame back by announcing | | | | eight Tony Awards for his work. Of particular |
| a false pregnancy to the press, who begin to | | | | interest here are the numbers "Razzle Dazzle," |
| fawn over her once again. Amos is delighted by | | | | "Cell Block Tango," and "We Both Reached for the |
| the unexpected news but we eventually learn | | | | Gun." |
| that he is severely disheartened by the failure of | | | | 4. The Staging |
| anyone including his own wife, who is supposedly | | | | Sets, design, choreography, and sheer visual |
| pregnant with his child to notice him ("Mr. | | | | spectacle for this production are unparalleled and |
| Cellophane"). | | | | the show often breaks the fourth wall, drawing |
| Meanwhile, Billy Flynn calms Roxie's growing | | | | the audience into its visceral world. |
| anxiety about her upcoming trial with the witty | | | | 5. The Idea |
| number "Razzle Dazzle," assuring her that | | | | If nothing about musicals enraptures you, then the |
| everything will turn out fine as long as a proper | | | | intellectual fodder laid out by the themes in the |
| show is put on for the jury. As promised, Roxie is | | | | story of Chicago: The Musical is enough to get |
| acquitted, but yet another crime of passion | | | | anyone's mind working. Chicago isn't shy about |
| makes news and the blood-thirsty press abandons | | | | pointing out how glamorized criminals become |
| Roxie's story in pursuit of it. Billy Flynn also leaves, | | | | once they enter the public eye, nor does it refrain |
| having done his part in the case. Amos is the only | | | | from the central theme that people everywhere |
| remaining character in Roxie's now-vacant life, and | | | | are absolutely in love with scandal, no matter how |
| even he is driven away by the news that there | | | | depraved. |
| is, in fact, no baby. With nothing left of their | | | | |