ADULTERY & TREACHERY

EXPLOITATION, VIOLENCE,

CORRUPTION, GREED,

MURDER,

W E L C O M E .LADIES AND GENTLEMEN,

YOU ARE ABOUT TO SEE A STORY OF

– ALL THOSE THINGS WE HOLD NEAR AND DEAR TO OUR

HEARTS.

Lyrics by

Fred Ebb Music By

John Kander Book by

Fred Ebb & Bob Fosse

Scenic Design John Lee Beatty

Sound Design Scott Lehrer

Script Adaptation David Thompson

Costume DesignWilliam Ivey Long

Orchestrations Ralph Burns

Musical Coordinator Seymour Red Press

Lighting Design Ken Billington

Dance Music Arrangements Peter Howard

Hair Design David Brian Brown

Technical Supervisor Arthur Siccardi

Dance Supervisor Gary Chryst

Production Stage ManagerDavid Hyslop

Supervising Music Director

Rob FisherMusic Director

Leslie Stifelman

Casting Duncan Stewart and Company

Original CastingJay Binder

Executive Producer

Alecia Parker General Manager

B.J. Holt

Presented in Association with Broadway Across America

Press RepresentativeJeremy Shaffer

The Publicity Office

Barry & Fran Weissler in association with

Kardana/Hart Sharp Entertainment

present

Original Production Directed and Choreographed by Bob FosseBased on the play by Maurine Dallas Watkins

Based on the presentation by City Center’s Encores!SM

Choreography by

Ann Reinkingin the style of Bob Fosse

Directed by

Walter BobbieCast Recording on RCA Victor

AMY SPANGER

This production isn’t just smoke and mirrors. It’s flesh and blood shaped by discipline and artistry into a parade of vital pulsing talent. If there’s any justice in this world (and Chicago insists there isn’t), audiences will be exulting in that parade for many, many performances to come.

BEN BRANTLEY, THE NEW YORK TIMES

STEPHANIE POPE

ALWAYS CREATIVE

AMRA-FAYE WRIGHT

CHICAGO still glitters hypnotically! It remains the best adult entertainment in town… and still bubbles with the joy of performing!

-THE NEW YORK TIMES

JOHN KANDERMUSIC

A NOTE FROM

When Gwen Verdon and Bob Fosse came to Fred and me with the idea for this project (it must have been about 1973, because we opened in 1975), Fred was ecstatic and I was less so. I didn’t admit to my lack of enthusiasm to Bob, but I did to Fred, because I thought to myself “oh my God, another ‘show business is a metaphor for life’ piece,” which I felt we had already done.

As it usually happened in my collaborations with Fred, however, when one of us showed enthusiasm over something and the other was not so inspired, we would still support each other and go along to see where it took us. With Chicago, as we began to write and particularly as we worked on the score, I began to fall in love with the piece and felt very strongly about its run on Broadway.

So, it was very startling to me after we opened in 1975 to receive such lackluster reviews. We had some bad reviews…we had some good reviews, but overall nothing wildly overboard. The show ran for two years and was a moderate success, but disappointing to say the least.

Then, lo and behold, all these years later, the show was revived into a stunning production and became (and still is) an enormous success. Although the revival is more spare and stark then the original, it is the same choreographic approach, the same dialogue (with expert trims by Tommy Thompson), the same orchestration and the same attitude towards life. The two productions are basically the same and the question I’ve had these ten, wonderful years is why? Why, has the revival been so much more successful than its predecessor?

I’ve yet to get a satisfactory explanation for this phenomenon. Perhaps it was the O.J. Simpson case or the increased awareness of corruption in our society. Perhaps our culture had changed in the twenty-one years between the two productions or the climate and competition of the rest of Broadway is different. I still don’t know, but whatever the case, I’m glad to have the mystery.

“Ladies and gentlemen, you are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery,--all those things we hold near and dear to our hearts.”

So begins the musical Chicago—and creators John Kander, Fred Ebb and Bob Fosse never back off from that bold and sinister promise. A promise they fulfill with wit, danger, dazzle, style and a great deal of humor. The prickly delight of Chicago is that the musical is both showbiz savvy and theatrically rich, so that while it sets toes tapping, it also entertains the mind.

But first the story; Roxie Hart, a nightclub dancer who dreams of headlining in vaudeville, kills her lover, then convinces her husband to come up with $5,000 to hire Chicago’s shrewdest lawyer, who ultimately turns her crime into celebrity headlines and gets his client acquitted. By telling its tale in the sexy jazzy style of modern vaudeville, the killers (and there are five more of them) set out to seduce the audience as well as the jury.

This 1975 musical based on the 1926 play by Maurine Dallas Watkins now looks like it was ripped from today’s headlines. In recent years, America has experienced a new wave of celebrity trials. The abuses, manipulation of and by the press, and the complexity of our judicial system can make the search for truth and justice seem like different goals. Chicago’s plot was shocking in 1926, cynical and satirical in 1975, and today feels like a documentary.

The motor of any musical is its score, and Kander and Ebb have written a “hummer.” Each song enhanced by Ralph Burns’s brassy jazz band orchestrations, evokes the 1920s, reveals character, makes us laugh, drives the story, and simultaneously sustains an insistent beat, an edge which (like its characters) is as desperate to entertain as it is entertaining. A score of show-stoppers. Our production had its beginnings at City Center’s “Encores! Great American Musicals in Concert.” It was conceived as an homage to Bob Fosse, one of the great theatrical minds of any generation. Rather then reproduce his1975 Broadway production, we chose to reawaken its themes by honoring Fosse’s choreographic style, and filling his production with stylistic images that spanned his brilliant career.

Our minimalist set and lighting reflect Chicago’s themes of entrapment. Less site-specific, the production moves fluidly not from place to place, but from one emotional context to the next. The characters in Chicago are trapped—either in prison and in the legal system, or trapped by their own fame, lust, greed, ambition. Likewise, our cast is trapped on stage, the orchestra confined in an exaggerated jury box, and our lighting shadows these images with prison bars and the glamorized solitude of the spotlight. The costumes are as sexually manipulative as any contemporary advertising. Black became the color—black, and of course, skin. Stripping Chicago bare has revealed a piece of writing sturdier, richer, funnier and certainly more relevant than ever.

WALTER BOBBIEDIRECTOR

JASON PATRICK SANDS, AMOS WOLFF, RYAN WORSING

DENISE VAN OUTEN

A NOTE FROM

From its appearance at “Encores!” in 1995, Walter Bobbie and Ann Reinking’s new take on Chicago wowed audiences with its sleek, sexy style and choreography based on the Fosse style. The rapturous reception of the limited run of “Encores!” performances led to immediate plans to move the show to Broadway where it once again received blissful reviews. Critics and pundits commented on the show’s timeliness in the current celebrity-obsessed culture, and ten years hence, with the reality TV and celebrity scandals unabated, the show created in 1975 seems more prophetic than ever.

The terrific songs of Kander and Ebb, reinvented, reinterpreted, belted and chirped by performers around the world in varied languages combined with a stream of celebrity and theatrical cast replacements has kept the show sharp, entertaining and current. The popularity of the 2003 Oscar®-winning film gave the show another boost, bringing the musical to an even broader audience. Chicago has enjoyed productions in over thirty different countries and has been performed in at least seven different languages, making this timeless production a true international triumph, appealing to audiences young and old across many different cultures.

Perhaps Ben Brantley of The New York Times said it best in his original 1996 review. “This production isn’t just smoke and mirrors. It’s flesh and blood shaped by discipline and artistry into a parade of vital pulsing talent. If there’s any justice in this world (and Chicago insists that there isn’t), audiences will be exulting in that parade for many, many performances to come.”

When I was young, I read a wise and surprising quote from the great Martha Graham as told to Agnes de Mille. This perception has stayed in my soul deeply and somehow in a grown-up way. It goes like this:

“There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique.You do not even have to believe in yourself or your work, you have to keep open and aware directly to the urges that motivate you.Keep the channel open. No artist is pleased. There is no satisfaction whatever at any time. There is only a queer, divine dissatisfaction;A blessed unrest that keeps us marchingAnd makes us more alive than the others.”

I have known and treasured the exquisite growing pains of three great men. John Kander, Fred Ebb and Bob Fosse, who created the musical of Chicago. No matter how someone does a different highly creative version of, say, the opera “Carmen” by Bizet, it is still Carmen by Bizet.

Most of us have lived long enough to know that it was the writers that made a true classic—and they did it! We have added, loved, and respected it. We gave all of our talent, love and passion to it. Because we all had the true privilege to be a part of a great classic created by great and kind men!

ANN REINKING BARRY WEISSLERCHOREOGRAPHER PRODUCER

A NOTE FROM A NOTE FROM

ALWAYS ORIGINAL

JENNIFER DUNNE

More than 10 years into its run and giving no signs of cooling down, CHICAGO remains a sizzler – one extremely sex-see experience!

-STAR LEDGER

AND ALL THAT JAZZ

AMRA-FAYE WRIGHT & COMPANY

P O P.S I X .S Q U I S H .U H U H .C I C E R O.L I P S C H I T Z !P O P.S I X .S Q U I S H .U H U H .

BRENT BARRETT, CHRISTIE BRINKLEY & COMPANY

OH YES,

OH YES,

OH YES,

THEY BOTH

OH YES,

THEY BOTH

OH YES,

THEY BOTH

REACHED FOR

THE GUN,

THE GUN,

THE GUN,

THE GUN,

OH YES,

THEY BOTH

REACHED FOR

THE GUN,

FOR THE GUN!

THERE’S MEN EVERYWHERE JAZZ EVERYWHERE BOOZE EVERYWHERE LIFE EVERYWHERE JOY EVERYWHERENOWADAYS.AND THAT’S GOOD, ISN’T IT?GRAND, ISN’T IT?GREAT, ISN’T IT?SWELL, ISN’T IT?FUN, ISN’T IT?

LEFT: CHRISTIE BRINKLEY, AMRA-FAYE WRIGHT TOP RIGHT: BIANCA MARROQUIN, AMRA-FAYE WRIGHT BOTTOM: NIKKA GRAFF LANZARONE, CHARLOTTE D’AMBOISE

BEBE NEUWIRTH

CHICAGO is as crazy-fun as ever! Insanely entertaining! -WCBS TV

ALWAYS CL ASSIC

WHAT EVER

HAPPENED TO

FAIR DEALING?

AND PURE

ETHICS

AND NICE

MANNERS?

WHY IS IT

EVERYONE NOW

IS A PAIN IN

THE ASS?

WHATEVER

HAPPENED TO

CLASS?

V E L M A K E L LY

CLOCKWISE FROM TOP: TERRA C. MACLEOD, BRENDA BRAXTON, TERRA C. MACLEOD OPPOSITE PAGE: AMRA-FAYE WRIGHT

THE NAME ON EVERYBODY’S LIPSIS GONNA BE ROXIETHE LADY RAKIN’ IN THE CHIPSIS GONNA BE ROXIE

R O X I E H A R T

CLOCKWISE FROM TOP: AMY SPANGER, CHARLOTTE D’AMBOISE, BIANCA MARROQUIN OPPOSITE PAGE: SAMANTHA HARRIS & COMPANY

THEY SAY THAT LIFE IS TIT FOR TAT

AND THAT'S THE WAY I LIVE.

SO, I DESERVE

A LOT OF TAT

FOR WHAT I'VE GOT TO GIVE.

DON'T YOU KNOW THAT THIS HAND

WASHES THAT ONE TOO?

WHEN YOU'RE GOOD TO

MAMA'S GOOD TO YOU!

M A M ATHIS PAGE: ROZ RYAN

OPPOSITE PAGE FROM TOP: CAROL WOODS, SOFIA VERGARA, LYNDA CARTER

B I L L Y F L Y N N

MA

RY

SUN

SHIN

E

YOU’RE SO MUCH BETTER OFF IF YOU BELIEVE....THAT THERE’S A LITTLE BIT OF GOOD IN EVERYONE IN EVERYONE YOU’LL EVER KNOWYES, THERE’S A LITTLE BIT OF GOOD IN EVERYONE THOUGH MANY TIMES IT DOESN’T SHOW

GIVE ‘EM THE OLD RAZZLE DAZZLE

RAZZLE DAZZLE ‘EMGIVE ‘EM AN ACT WITH LOTS OF FLASH IN ITAND THE REACTION WILL BE PASSIONATE

NILI BASSMAN, MATTHEW SETTLE, MELISSA RAE MAHON

R. LOWE

TOM WOPAT & COMPANY

BRIAN O’BRIEN & COMPANY

HARRY HAMLIN & COMPANYB I L L Y F L Y N N

A LWAY S FA M O U S

CHRISTIE BRINKLEY

The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible! -ASSOCIATED PRESS

MARCIA LEWIS

MARILU HENNERROXIE HART

MATRON “MAMA” MORTON

RITA WILSONSANDY DUNCAN MICHAEL C. HALL

PATRICK SWAYZE

ROXIE HARTROXIE HART BILLY FLYNN

BILLY FLYNN

JOEL GREYAMOS HART

ANN REINKINGROXIE HART

ASHLEE SIMPSONROXIE HART

KEVIN RICHARDSONVINCENT PASTOREBILLY FLYNNAMOS HART

MELORA HARDINROXIE HART

BEBE NEUWIRTHVELMA KELLY

PAIGE DAVISROXIE HART

CHANDRA WILSONMATRON “MAMA” MORTON

GEORGE HAMILTONBILLY FLYNN

JOHN O’HURLEYBILLY FLYNN

KARA DIOGUARDIROXIE HART

HUEY LEWIS

USHER TRACY SHAYNE CHITA RIVERA

BILLY RAY CYRUS

BILLY FLYNN

BILLY FLYNN ROXIE HART ROXIE HART

BILLY FLYNN

JENNIFER HOLLIDAYMATRON “MAMA” MORTON

BROOKE SHIELDSROXIE HART

AIDA TURTURROMATRON “MAMA” MORTON

JAMES NAUGHTONBILLY FLYNN

JOHN SCHNEIDERBILLY FLYNN

MELANIE GRIFFITHROXIE HART

MICHELLE WILLIAMSROXIE HART

BRIAN MCKNIGHT

UTE LEMPER

BILLY FLYNN

VELMA KELLYSAMANTHA HARRIS

ROXIE HARTWAYNE BRADY

BILLY FLYNN

SOFIA VERGARA

JASMINE GUY

MATRON “MAMA” MORTON

VELMA KELLY

RYOKO YONEKURA

50 MAJOR AWARDSWINNER OF

WORLDWIDE

20 MILLION PEOPLE30 COUNTRIES

SEEN BY

IN MORE THAN

ALWAYS INTERNATIONAL

MEXICO

MOSCOW

UNITED KINGDOM

SYDNEY

BRAZIL

USA

KOREATORONTO

JAPANDUBAI

A L W A Y S S E X YANGEL REDA

CHICAGO is one of the greatest nights I’ve ever enjoyed in the theater. It’s still the best damn musical in town! -LIZ SMITH

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A L W AY S C H I C A G O

AMERICAN MUSICAL.

RUNNINGLONGEST

THE

PHOTOGRAPHY: AMY ARBUS, JASON BELL, JEREMY DANIEL, ANDREW ECCLES, RICHARD FAHEY, BOB FRAME, JOSH LEHRER, PAUL KOLNIK, JOAN MARCUS, LEN PRINCE, STEPHANIE PFREINDER STYLANDER, MIRANDA PENN TURIN, MAX VADUKUL, ULI WEBER