top of page
chicago_edited.jpg

ALL ABOUT THE MUSICAL "CHICAGO"

Broadway’s longest-running American musical, Chicago is a dazzling and satirical look at fame, justice, and the media machine.

​

10w, 9m plus ensemble

​

Set in 1920s Chicago and based on real-life murders and trials, Chicago follows Roxie Hart, a wannabe vaudevillian star who murders her lover and is arrested, despite her attempts to convince her pushover husband, Amos, to lie for her. In the Cook County Jail, Roxie meets her hero, the famed double-murderess and nightclub performer Velma Kelly. When both acquire the same greedy superstar lawyer Billy Flynn, tensions come to a head as they vie for the spotlight -- though instead of onstage, they’re mugging for the flashbulb of the newspaper reporters. With catchy music and timeless lyrics by John Kander and Fred Ebb, and a funny, intelligent, and utterly engaging book by Kander and Bob Fosse, Chicago is a musical spectacular that is as addictive as gossip rags and as unforgettable as any trial of the century.
​
  • TIME PERIOD: The late 1920s.

  • SETTING: Chicago, Illinois. 

  • FEATURES: Period Costumes

  • DURATION: 90 minutes

Roxie
velma
Billy
124196-0_edited.jpg
GGK_2052.jpg
reached for the gun
41.CHICAGO.DjalengaScottVelmaKellyandTheCompany.PhotoTristramKenton.jpg

CASTING

 

Generally, at ACT-1 we are open to gender-blind/re-gendered casting. Therefore, please audition for whatever roles you are attracted to!

​

However, please try to choose the roles that best reflect your talents. Just because you like a role doesn't mean you are well-suited for it, and you'll want to have the strongest audition possible!

 

As you get to know the show and the music, please pay attention to the characters' vocal ranges and required skill sets. Sometimes we can slightly adjust the key of a character's solo song, but we do prefer to keep accompaniment in the original key as much as possible.  

​

Carefully read the character descriptions and requirements below, and let us know if you have any questions!

​

​

ROLES/CHARACTER BREAKDOWNS

 

Velma Kelly

Vocal range: Alto, E3-D5

Character's Gender: Female

Character's Age: 25-40

Character's Ethnicity: Any

Vaudeville performer who is accused of murdering her sister and husband. Hardened by fame, she cares for no one but herself and her attempt to get away with murder.

​

Roxie Hart

Vocal range: Mezzo-Soprano, F3-B4

Character's Gender: Female

Character's Age: 20-30

Character's Ethnicity: Any
Reads and keeps up with murder trials in Chicago, and follows suit by murdering her lover, Fred Casely. She stops at nothing to render a media storm with one goal: to get away with it.​​

​

Matron "Mama" Morton

Vocal range: Alto, F#3-Bb4

Character's Gender: Female

Character's Age: 30-50

Character's Ethnicity: Any

Leader of the prisoners of Cook County Jail. The total essence of corruption. Accepts bribes for favors from laundry service to making calls to lawyers. “When you’re good to Mama, Mama’s good to you.”​

​

Mary Sunshine

Vocal range: Soprano, Bb3-Bb5

Character's Gender: Female

Character's Age: 25-55

Character's Ethnicity: Any
Sob-sister reporter from the Evening Star. Believes there is a little bit of good in everyone and will believe anything she is fed that matches up with her beliefs.

​

Liz

Vocal range: Ensemble, A3-C#5

Character's Gender: Female

Character's Age: 18-45

Character's Ethnicity: Any

Prisoner at Cook County Jail. She is imprisoned after shooting two warning shots at her husband... into his head.

 

Annie

Vocal range: Ensemble, A3-C#5

Character's Gender: Female

Character's Age: 18-45

Character's Ethnicity: Any
Prisoner at the Cook County Jail. Murders her love after finding out he already has six wives: “one of those Mormons, ya’ know.”

 

June

Vocal range: Ensemble, A3-C#5

Character's Gender: Female

Character's Age: 18-45

Character's Ethnicity: Any
Prisoner at Cook County Jail. After her husband accuses her of cheating with the milkman, he mysteriously runs into her knife... ten times.

​

Hunyak

Vocal range: NON SINGING ROLE

Character's Gender: Female

Character's Age: 25-45

Character's Ethnicity: Hungarian
Hungarian Prisoner at Cook County Jail. The only English she speaks is the phrase, “Not Guilty," which sadly follows her to her grave.

​

Mona
Vocal range: Ensemble, A3-C#5

Character's Gender: Female

Character's Age: 18-45

Character's Ethnicity: Any
Prisoner at Cook County Jail. Murders her man after he has a round of affairs. I guess you could say it was “artistic differences?”

​

Go-to-Hell-Kitty
Vocal range: Ensemble, A3-C#5

Character's Gender: Female

Character's Age: 21-40

Character's Ethnicity: Any
Steals the spotlight from Velma and Roxie when she murders her husband and three other women. Her crimes are labeled “Lake Shore Drive Massacre.”

​

Billy Flynn

Vocal range: Baritone Bb2-G4

Character's Gender: Male

Character's Age: 35-50

Character's Ethnicity: Any

Established lawyer who hasn’t lost a woman’s case yet. The master of media manipulation who will get a girl off the hook - as long as she can fork up the hefty $5,000 fee.​

​

Amos Hart

Vocal range: Baritone, C3-F#4

Character's Gender: Male

Character's Age: 30-50

Character's Ethnicity: Any

Roxie’s faithful husband. Lies for her and tries to take the blame until he realizes that he has been two-timed by Roxie. Still in love with her, (or misguided), he believes anything she says in her pursuit to get out of jail.

​

Sergeant Fogarty

Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Age: 35-55

Character's Ethnicity: Any
Assigned to Roxie’s case. After asking the right questions, he manages to get Roxie to confess.

​

Fred Casely

Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Age: 30-50

Character's Ethnicity: Any
Roxie’s short-lived fling, who is murdered for trying to leave Roxie.​

 

Martin Harrison:
Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Age: 18-45

Character's Ethnicity: Any
Ensemble member who may double as the Master of Ceremonies at times.

 

Harry
Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Age: 21-40

Character's Ethnicity: Any
Go-To-Hell Kitty's husband (who she murders).

 

Aaron
Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Ethnicity: Any
Court appointed lawyer for Hunyak. He tries to get her to confess to speed along the trial.

 

Judge
Vocal range: Ensemble/Part Flexible

Character's Gender: Male

Character's Age: 40-65

Character's Ethnicity: Any
Judge overseeing Roxie’s Trial.

 

Court Clerk
Vocal range: Ensemble/Part Flexible

Character's Gender: Any

Character's Ethnicity: Any
Swears people in with their hand on the bible. “Blah, Blah, Truth, Truth. 'Selp-you God.”

​

Chorus/Ensemble​​​​

ADDITIONAL INFO

RESOURCES

Please watch these production of Chicago (on Broadway) and Chicago (the Teen Edition)!

SHOW HISTORY

​​​

ORIGINS

​

Chicago is a 1975 American musical with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse. Bob Fosse directed and choreographed the original production, and his style is strongly identified with the show.

​

Set in Chicago in the Jazz Age, the musical is based on a 1926 play of the same title​ by Maurine Dallas Watkins​, about actual criminals and crimes on which she reported. Chicago Tribune​ reporter and playwright Maurine Dallas Watkins​ was assigned to cover the 1924 trials of accused murderers Beulah Annan and Belva Gaertner. In the early 1920s, Chicago's press and public became riveted by the subject of homicides committed by women. Several high-profile cases arose, which generally involved women killing their lovers or husbands. These cases were tried against a backdrop of changing views of women in the Jazz Age, and a long string of acquittals by Cook County juries of female murderers (juries at the time were all male, and convicted murderers generally faced death by hanging). A lore arose that, in Chicago, feminine or attractive women could not be convicted. The Chicago Tribune generally favored the prosecution's case, while still presenting the details of these women's lives. Its rivals at the Hearst papers were more pro-defendant, and employed what were derisively called "sob-sisters" – women reporters who focused on the plight, attractiveness, redemption, or grace of the female defendants. Regardless of stance, the press covered several of these women as celebrities.

​

Annan, the model for the character of Roxie Hart, was 23 when she was accused of the 1924 murder of Harry Kalstedt​ (the basis for the Fred Casely character​). Her husband Albert Annan inspired the character Amos Hart. Albert was an auto mechanic who bankrupted himself to defend his wife, only for her to publicly dump him the day after she was acquitted. Velma Kelly is based on Gaertner, who was a cabaret singer and society divorcée. The body of Walter Law was discovered slumped over the steering wheel of Gaertner's abandoned car​ in 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. Lawyers William Scott Stewart and W. W. O'Brien were models for a composite character in Chicago, Billy Flynn. Just days apart, separate juries at the Criminal Courts building acquitted both women.

Watkins' sensational columns documenting these trials proved so popular that she wrote a play based on them. The show received both good box-office sales and newspaper notices and was mounted on Broadway in 1926, running 172 performances. Cecil B. DeMille produced a silent film version, Chicago (1927)​. It was later remade as Roxie Hart (1942) starring Ginger Rogers, but in this version, Roxie was accused of murder without having really committed it, due to content restrictions on Hollywood films of the era.

​

In the 1960s, Gwen Verdon read the play and asked her husband, Bob Fosse, about the possibility of creating a musical adaptation. Fosse approached playwright Watkins numerous times to buy the rights, but she repeatedly declined; Watkins may have regretted Annan and Gaertner's acquittals, and felt that her treatment of them should not be glamorized.​ Nonetheless, upon her death in 1969, her estate sold the rights to producer Richard Fryer, Verdon, and Fosse. John Kander and Fred Ebb began work on the musical 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. 

​

BROADWAY 

 

Chicago: A Musical Vaudeville opened ​in 1975 at the 46th Street Theatre​, and starred Chita Rivera as Velma Kelly, Gwen Verdon as Roxie Hart, Jerry Orbach as Billy Flynn, and Barney Martin as Amos Hart. ​ The musical received mixed reviews. The Brechtian style of the show, which frequently dropped the fourth wall, made audiences uncomfortable.​ The show opened 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​.The show was on the verge of closing when it ran into another setback: Verdon had to have surgery on nodes in her throat after inhaling a feather during the show's finale.​ The producers contemplated closing the show, but Liza Minnelli stepped in and offered to play the role of Roxie Hart in place of Verdon.​ Her run lasted slightly over a month,​ boosting the show's popularity, until Verdon recuperated and returned to the show. â€‹

​

The 1996 Broadway revival production of Chicago was directed by Walter Bobbie with choreography "in the style of Bob Fosse" by Ann Reinking, who also ​p​layed Roxie Hart.​ Bebe Neuwirth ​was Velma Kelly, Joel Grey as Amos Hart and James Naughton as Billy Flynn.​ The show was well-received​.

​

​The production tetain​ed the spare and minimalist style in costumes and set. The set design includes the presence of the band center stage in an evocation of a jury box, around and upon which the actors play some scenes. There are also chairs along the sides of this central piece, in which the actors at times sit or lounge, when not directly involved in the action. ​ Unlike the original production, the revival was met with praise from critics.

​

On November 23, 2014, Chicago became the second longest-running Broadway show, surpassing Cats.

​

Original Broadway Play: 1926

Silent Film: 1927

Original Film: 1942

Musical World premiere​:​ 1975 at the Forrest Theatre in Philadelphia.

Musical Original Broadway Production​:​ 1975​-1977 at the 46th Street Theatre

Musical Broadway ​Revival: 1996-present. The ongoing 1996 revival of Chicago is the longest-running show currently on Broadway. It is the second longest-running show ever to run on Broadway, behind only The Phantom of the Opera​, and holds the record as the longest-running musical revival and the longest-running American musical in Broadway history. 

Film Adaptation of the Musical: 2002. Won the Academy Award for Best Picture.

bottom of page