CHICAGO Study Guide - Theatre Under The Stars

Study Guide 

Chicago is suggested for mature audiences. 

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

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.

2 

Table of Contents 

Section I: Introduction 

a. Brief History of TUTS…………………………………………………………1 

b. Purpose of study guide…………………………………………………………1 

Section II: Musical Theatre 101 

a. What is musical theatre? ………………………………………………………2 

b. Brief History…………………………………………………………………2-3 

c. Elements of Production………………………………………………………3-5 

d. How is it different from other media?………………………………………….5 

e. Why is it important? …………………………………………………………...5 

f. Glossary………………………………………………………………….…...6-8 

g. How a Musical is Born……………..…………………………………………..9 

h. Theatre Etiquette ……………………………………………………………...10 

i. Review Questions and Activities…………………………………………..11-12 

Section III: About the Show - Chicago 

a. Background…………………………………………………………………...13 

b. Creative Team………………………………………………………………...14 

c. Characters and Song List……………………………………………………..15 

d. Synopsis……………………………………………………………………....16 

Section IV: Junior High & High School Curriculum 

a. Discussion Questions/Written Assignments – Dig a Little Deeper…………17 

i. Historical Context………………………………………..17 

ii. Theme……………………………………………………17 

iii. Symbolism……………………………………………….17 

b. Projects – Get Creative! …………………………………………………….18 

i. 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 Material 

a. Article – “Chicago: The True Murders that Inspired the Movie”………..19-20 

b. Song Lyrics………………………………………………………………21-30 

All That Jazz……………………………………………21-22 

Cell Block Tango……………………………………….23-26 

When You’re Good to Mama…………………………..27 

A Little Bit of Good……………………………………28 

Razzle Dazzle…………………………………………..29-30 

c. References………………………………………………………………...…31

1 

Section I – Introduction 

History of Theatre Under The Stars 

Theatre Under The Stars (TUTS), founded in 1968 by Frank M. Young, is Houston’s acclaimed 

musical theatre production company. During its 34 seasons, TUTS, one of America’s 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 has 

since 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 official 

training 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 fullystaged 

end-of-term musical and may audition for juvenile roles in TUTS’ major musical 

productions. 

Purpose of Study Guides 

TUTS 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 people’s lives like few other 

experiences. 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 an 

increasingly technological world without understanding the meaning 

and beauty transmitted by the arts.” 

-J.P. Getty Trust 

Beyond Creating a Place for Art in America’s School, 1985 

CHICAGO Study Guide 

Theatre Under The Stars 

(C)2005

2 

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 else 

that 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 Theatre 

The 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 opera 

emerged. 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 Crook by Charles M. Barras and Giuseppe 

Operti, was performed in New York. However, American musical theatre did not establish its 

own 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 musicals 

thoroughly 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 musicalcomedy 

writing. Any plot, however improbable, was possible just so long as it could be the 

frame 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 Hammerstein 

II and Jerome Kern. The show featured popular music, such as jazz and gospel, which separated 

Show Boat from 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 with 

a 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 ten 

years, 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. 



(C)2005

3 

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

becoming more mainstream. This trend influenced musicals such as West Side Story (1957) and 

Bye Bye Birdie (1960) to feature more popular, contemporary music. Hair in 1968 continued this 

movement by incorporating rock music and storylines based on the hearts of the younger 

generation. 

And setting a pattern that would redefine Broadway, Cats premiered 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. Cats has now 

become the longest-running show in Broadway history. 

Then came Rent in 1996, which revolutionized the very concept of musical theatre around the 

world. Rent blended pop, dance, salsa, rhythm and blues, gospel, and rock music together to tell 

its moving tale of hopes and dreams, while also addressing the serious and controversial issues of 

homelessness, AIDS, and drug addiction. Rent not only challenged the mainstream, but 

reinvented it. Shows following Rent such as Ragtime (1998) and Wicked (2003) also contained 

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

Elements of Production 

A 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 Team 

No 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, composers and 

lyricists begin to write the songs. The music needs to not only fit the overall tone and pace of the 

musical, but also contain lyrics that help the audience understand the story and its characters. 

The choreographer designs dance sequences for the performers. The dances are intricate 

movements 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. 

Cast 

The director works with the casting agent to cast both the principal performers and the 

ensemble or chorus members. Each performer must have a well-trained singing voice, acting 

skills, 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 song and one ballad. Those who are not chosen for a principal role through the 

auditioning process sometimes become standbys or 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. 

Rehearsal 

The cast will do an initial read-through of the script, without singing or dancing, followed by 

additional practices with the rehearsal pianist. The music director or conductor teaches and 



(C)2005

4 

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 the 

actors’ 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 a 

wanderprobe, where they run through the show, including movements and dancing, while the 

orchestra plays. The technical rehearsal is 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, many 

times more than one, to bring all the different elements (costumes, music, dance, lights, sound) 

together. 

Crew 

The set designer creates the locale and period in which the musical occurs. While some sets are 

very simple and focuses the audience’s attention on the show itself, some are lavish and 

extravagant, providing visual appeal. The head carpenter is responsible for building the actual 

set. The lighting designer decides where the lighting instruments should go, how they should be 

colored, and which ones should be on any particular time. The electrician implements the 

lighting designer’s work and makes sure the lights are set properly and safely. The property 

(props) master is 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 a 

flyman, 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 wrangler helps them through the rehearsals and 

production for a smooth and successful show. The stage manager is 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. 

Sound 

The sound designer plans 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 scene’s 

needs. The sound operator executes the sound designer’s plans and handles the mixing 

equipment for the show. Music and sound must fit the context in which they are used. The 

adjustments are made using the soundboard. The sound effects designer is responsible for 

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

water. 

Costumes and Makeup 

The costume designer first 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 fabrics 

to use, and draws the costumes in renderings. Through costume fittings, the tailor adjusts the 

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

dressers to help put on his or her costume. The ensemble or chorus members also have dressers 

to help them change during quick character or scene transitions. The makeup artist is 

responsible for applying cosmetics to each performer’s face and body to increase visibility, 



(C)2005

5 

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

to makeup, certain roles call for a specific hairstyle. The wig master/mistress obtains 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 marquee displaying the name of the 

show being performed that night. After purchasing tickets at the box office and 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 usher escorts 

them to their seats, which may be in the boxes, orchestra, mezzanine, or gallery sections. Each 

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

the end of intermission, the entr’acte plays, signaling the start of act two. The show ends with the 

finale. Audience members will then give a standing ovation if they felt the show was 

exceptionally good. The house manager oversees 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 audience 

in 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 seemingly 

trivial 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 of 

movies 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, while 

junior 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 of 

production 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. 



(C)2005

6 

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 VIP’s 

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 performers 

Director – 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 



(C)2005

7 

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 (audience’s point of view) 

House Manager – one who oversees all aspects of the audience; responsible for ushers and 

audience safety 

House Right – the right side of the theater, when facing the stage (audience’s 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 performer’s face and body 

Marquee – a signboard projecting over the theater’s 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 



(C)2005

8 

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 or 

dialogue 

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 (performer’s point of view) 

Stage Manager – one who is responsible for the quality of the show’s production, assists the 

director and oversees the show at each performance 

Stage Right – the right side of the stage, when facing the audience (performer’s 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 person’s 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 



(C)2005

9 

How a Musical is Born 

For 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 specific 

subject. Many times, musical theatre draws on material from existing plays, books, movies, and 

other sources for a new show. 

Screen to Stage 

Screen-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 movieturned-musicals 

are Singin’ in the Rain in 1985 (movie 1952), Beauty and the Beast in 1994 

(movie 1991), The Producers in 2001 (movie 1968), and Mary Poppins in 2004 (movie 1964). 

Concept Musicals 

Concept 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 various 

aspects 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), and 

Assassins (2004). 

Stage to Screen 

Stage-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 Grease in 1972 (movie 1978), Chicago in 1975 (movie 2002), Phantom 

of the Opera in 1988 (movie 2004), and Rent in 1996 (movie 2005). 

Revisals 

This is the age of the "revisal", when old musicals are reinvented in new productions. The new 

shows 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 the 

Roof premiered in 1964, and the same production has been revived in 1976, 1981, 1990, and 

2004, usually unchanged from its original incarnation. 

Workshop Musicals 

Unlike 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 by 

multiple 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 Questions 

1. 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? 



(C)2005

10 

Theater Etiquette 

Some basic theater etiquette tips: 

1. Do not talk, whisper, sing, or hum during the performance. Singing and swaying 

with 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 all 

cell phones, pagers and watches. 



(C)2005

11 

Review Questions 

The 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 Understanding 

1. 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 Cohan’s formula? How was it different? 

5. What do West Side Story, Bye Bye Birdie, and Hair have in common? 

6. How has Cats contributed to broadway? 

7. What is the significance of Rent? 

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 Thinking 

1. 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, and Hair reflect young people’s attitude in the 

late 1950’s – 1960’s? 

4. Why do you think Jonathan Larson, the writer of Rent, 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? 



(C)2005

12 

Activities 

The 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. 

1 st – 5 th Grade 

A. Evolution 

Objective: 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. Everyone’s 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) 

6 th – 12 th Grade 

A. Inspiration 

Objective: 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 or 

political 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. Debate 

Objective: 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. 



(C)2005

13 

Section III – About the Show 

Chicago was 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, Chicago’s dark humor and cynical songs about America’s justice system 

did not appeal to audiences during the 1970’s, and thus was overshadowed by feel-good 

musicals like A 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 Chicago into a movie. The film, like the 

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



(C)2005

14 

The Creative Team 

Fred Ebb (Lyricist, Co-Author) 

Fred Ebb's career has encompassed writing lyrics for the stage, the silver 

screen, 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 Frank 

Sinatra. 

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 of 

winning 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 Emmy 

Award for the television special Liza 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, and 

went on to earn a Master of Arts degree from Columbia University. He made 

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

While the show was not a success, it nonetheless led to future successes. He has 

received awards for Cabaret, Chicago, and Kiss of the Spider Woman. 

Walter Bobbie (Director) 

Walter Bobbie received the Tony, Drama Desk and Outer Critics Circle Award 

as Best Director for Chicago. He was the artistic director of City Center's 

acclaimed Encores! series and directed its premiere of Fiorello! Bobbie is also 

an actor whose work includes Guys and Dolls, Driving Miss Daisy, and the 

original 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 for 

Chicago, as well as the Drama Desk, Outer Critics Circle, Astaire, and NY 

Drama Critics Awards. She has also performed in numerous musicals such as A 

Chorus Line, the original Chicago, and Pippin. Her work in films includes All 

that Jazz and Annie. Reinking is the founder and artistic director of the 

Broadway Theatre Project. 



(C)2005

15 

Characters 

Roxie Hart… dreams of becoming a star, but ends up in jail 

for killing Fred Casely, the man she was having an affair with 

Velma Kelly… Chicago’s star nightclub performer, is in jail 

for murdering her sister and husband 

Billy Flynn… a much sought-after lawyer who successfully 

manipulates the media in order to free his clients 

Fred Casely… a nightclub regular who gets shot by his 

lover, Roxie 

Merry Murderesses… the group of women who are all 

in jail for murder 

Amos Hart… Roxie’s husband who willingly takes the 

blame for killing Fred Casely until he finds out that she was having 

an affair with him 

Mama Morton… the jail matron who has set up a give-andtake 

system with the murderesses 

Mary Sunshine… a kind-hearted columnist who falls for 

Billy’s story about Roxie’s innocence 

Song List 

Act I 

Overture 

All that Jazz 

Funny Honey 

The Cell Block Tango 

When You’re Good to Mama 

All I Care About 

A Little Bit of Good 

We Both Reached for the Gun 

Roxie 

I Can’t Do It Alone 

My Own Best Friend 

Act II 

Entr’acte 

I Know a Girl 

Me and My Baby 

Mr. Cellophane 

When Velma Takes the Stand 

Razzle Dazzle 

Class 

Nowadays 

Hot Honey Rag 



(C)2005

16 

Synopsis 

Act I 

As the Overture comes to a close, we meet Velma Kelly, Chicago’s spotlight chanteuse in prison 

for murdering her sister and husband after finding them in bed together. Through All that Jazz, 

Velma tells us the story of Roxie Hart, an aspiring nightclub performer and fellow inmate. Roxie 

has 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 giveand-take 

benefit system (When You’re Good to Mama). 

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

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

rearranges Roxie’s case and tells it to the sympathetic columnist Mary Sunshine, who always 

tries to find A Little Bit of Good in everyone. Roxie’s 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 media’s top murderer-of-the-week with newspaper 

headlines like “Roxie Rocks Chicago!” 

Velma tries to convince Roxie to re-create her sister act through I Can’t Do It Alone, but Roxie 

turns her down, wanting to have all the fame to herself. However, after a new murderess gains 

the press’ attention, both Roxie and Velma’s 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 the Entr’acte, Velma expresses her disbelief of Roxie’s run of luck through I Know A Girl, 

and Roxie sings to her supposed baby in Me and My Baby. Amos proudly claims paternity, but 

because nobody pays attention to him, he calls himself Mr. 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 to Razzle 

Dazzle the courtroom. 

After hearing about Roxie’s ridiculous acts in court, Velma and Mama Morton lament the 

demise of Class. Roxie is found not guilty, but another sensational murder occurs and quickly 

steals the media attention away from her. Returning to her days as an unknown, Roxie reflects on 

her life Nowadays. 

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

Rag as the new hit vaudeville team. 



(C)2005

17 

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 the 

play. 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 Context 

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

2. Is Chicago reflective of the justice system in the 1920’s? Why or why not? 

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

V. Did Chicago accurately 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 Chicago’s original premiere in 1975 unsuccessful relative to its revival in 

1996? 

Theme 

1. 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 Chicago a satire? 

4. Discuss how shows like Saturday Night Live and Mad TV satire current events. How are 

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

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

recent examples of where media has influenced a trial decision. 

Symbolism 

1. What does Mary Sunshine’s naiveté 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 You’re Good to Mama in Section V. What does Mama Morton’s 

character and her song suggest about the justice system? 

4. Read the lyrics for All that Jazz in Section V. What does the “jazz” symbolize? 



(C)2005

18 

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, and 

costumes. Be sure to include how each contributes to the 

show’s 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/her 

attitude, 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. 



(C)2005

19 

Section V - Supplemental Material 

Chicago: The True Murders That Inspired the Movie 

By: Nancy Gupton (National Geographic News) 

Updated: March 24, 2003 

Sizzle, sequins, sex, and murder. It sounds like the stuff of movies—and it is. But the Oscarwinning 

courtroom musical Chicago is based on true murder cases: a laundry worker and a 

cabaret singer both accused of killing their lovers in 1924. 

The stage and screen versions of Chicago stem from one source. Former reporter Maurine 

Watkins based her 1926 play, Chicago, on her Chicago Tribune stories of two women—Belva 

Gaertner and Beulah Annan—accused of murdering under the influence of drink and jazz. But 

were Gaertner and Annan anything like the characters Velma Kelly and Roxie Hart? 

In 1924, Belva Gaertner—the model for Velma Kelly—was 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 Annan—the inspiration for Roxie Hart—was arrested for shooting and 

killing 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 Cook 

County 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 them 

together. Later she says, "I can't remember a thing." In real life, twice-divorced cabaret singer 

Belva Gaertner—dubbed the "most stylish" woman on Murderess Row by reporter Watkins— 

was accused of shooting her lover in her car. Gaertner, 38, said she had been drinking and had 

no memory of what happened. 

Chicago's Roxie Hart, a married wanna-be cabaret star, shoots her paramour, Fred, because he 

can't further her singing career, as he promised. She says he was a burglar, but a neighbor rats 

her out. In reality, twentysomething, married laundry worker Annan—the "prettiest woman" on 

Murderess Row—was accused of shooting her lover, co-worker Harry Kelstedt. She first said 

Harry had broken into her home. Later she admitted they were lovers and said she shot him 

after 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 lies 

and says she's pregnant to draw it back. In real life, Annan announced she was pregnant the 

day after learning a fellow Murderess Row inhabitant received the death sentence for murdering 

her 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, then 

wed another man, only to find that he was already married. A breakdown led her to a mental 

hospital, where she died in 1928 of causes not generally known. Gaertner may have fared 

better. After her acquittal, she said she planned on remarrying husband number two and 

traveling to Europe. What became of her is unknown. 

Watkins, a young reporter, hit the jackpot with the Gaertner and Annan cases. Her winking style 

helped land her articles on the front page of the Tribune. 



(C)2005

20 

"In the 1920s people began treating crime with a sense of humor in metropolitan cities," says 

English professor Thomas Pauly, whose book Chicago collects Watkins's play as well as 

several of her original Tribune articles. "They were trying to laugh at crime, to show a sense of 

sophistication." 

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 me—but no woman can love a 

man enough to kill him. They aren't worth it, because there are always plenty more." A month 

after Gaertner's arrest, Beulah Annan was jailed and Watkins gave her case the same 

treatment. 

Readers ate the stories up. "Her stories made Beulah and Belva celebrities—and helped get 

them acquitted" by showing them in a sympathetic light, Pauly says. Both women were 

pronounced 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 glibness 

with 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 1920’s was a really vibrant, bustling 

city," says Russell Lewis, Andrew D. Mellon Director for Collections and Research at the 

Chicago Historical Society. 

In 1924, Prohibition had been in effect for five years. Now that alcohol was illegal, it was more 

popular than ever. Gangsters were getting rich off bootlegged liquor, and speakeasies were 

popping up all over town. 

"You had the introduction of jazz to the broader audience. You had Al Capone and other 

gangsters," 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 along—all these were avenues 

for mass communication, and people were hungry for this. "In a lot of these avenues there was 

a 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 of 

Drama. She wrote a play, Chicago, which satirized the trials and the media's role in them. 

The play was turned into the movie Roxie Hart in 1942, and then into a Broadway musical by 

director Bob Fosse in 1975. 

"Even from the time the play came out, Watkins tried to hide the fact that she had covered the 

crimes," Thomas Pauly says. Through his research he came to believe that Watkins later 

became a born-again Christian and may have been ashamed of her apparent involvement in the 

women's acquittals. 

As to the popularity of Watkins's stories, Pauly says: "Crime as entertainment has been around 

since the Bible. Maurine Watkins made fun of the whole business. She delighted in the carnival 

that she herself created." 

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

entertainment." 



(C)2005

21 

Song Lyrics 

All That Jazz 

[VELMA] 

Come on babe 

Why don't we paint the town? 

And all that jazz 

I'm gonna rouge my knees 

And roll my stockings down 


Start the car 

I know a whoopee spot 

Where the gin is cold 

But the piano's hot 

It's just a noisy hall 

Where there's a nightly brawl 


[VELMA] 

Slick your hair 

And wear your buckle shoes 


I hear that Father Dip 

Is gonna blow the blues 


Hold on, hon 

We're gonna bunny hug 

I bought some aspirin 

Down at United Drug 

In case you shake apart 

And want a brand new start 

To do that- 

[ROXIE] Jazz 

[COMPANY] Skidoo! 

[VELMA] And all that jazz 

[COMPANY] Hotcha! Whoopee! 


[COMPANY] Ha! Ha! Ha! 

[VELMA] 




Find a flask 

We're playing fast and loose 

[ALL] And all that jazz 

[VELMA] 

Right up here 



(C)2005

22 

Is where I store the juice 

[ALL] And all that jazz 

[VELMA] 

Come on, babe 

We're gonna brush the sky 

I bet your lucky Lindy 

Never flew so high 

'Cause in the stratosphere 

How could he lend an ear 

to 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 girdle 

Oh, her mother's blood'd curdle 

If she'd hear her baby's queer 

For all that jazz 

[VELMA] 



Come on babe 

Why don't we paint the town? 


I'm gonna rouge my knees 

And roll my stockings down 


Start the car 

I know a whoopee spot 

Where the gin is cold 

But the piano's hot 



And all that- 

[COMPANY] Jazz 

[VELMA] 

No, I'm no one's wife 

But, Oh, I love my life 

And all that jazz! 

[COMPANY] That jazz! 



(C)2005

23 

Cell Block Tango 

[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 coming 


He only had himself to blame 

If 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 habits 

That get you down. Like Bernie 

Bernie like to chew gum 

No, not chew. POP. So I came home this one day 

And I am really irritated, and 

looking for a little sympathy 

and there's Bernie layin' 

on the couch, drinkin' a beer 

and chewin'. No, not chewin'. Poppin'. 

So, I said to him, 

I said, "You pop that 

gum one more time..." and he did 

So I took the shotgun off the wall 

and I fired two warning shots... 

...into his head 

[ALL] 



He only had himself to blame 




(C)2005

24 

If you'd have heard it 


[ANNIE (Spoken)] 

I met Ezekiel Young from 

Salt Lake city about two years ago 

and he told me he was single 

and 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 wives 

One 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 took a flower 

In its prime 

And then he used it 

And he abused it 

It was a murder 

But not a crime! 

[JUNE (Spoken)] 

Now, I'm standing in the kitchen 

carvin' 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 knife 

He ran into my knife ten times! 

[ALL] 


If you'd have seen it 


[HUNYAK (Spoken in Hungarian)] 

Mit kersek, en itt? Azt mondjok, hogy a hires lakem lefogta a ferjemet en meg 

lecsaptam a fejet. De nem igaz, en artatlan 

vagyok. Nem tudom mert mondja 

Uncle Sam hogy en tettem. probaltam 

a rendorsegen megmayarazni de nem ertettek meg... 



(C)2005

25 

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

[HUNYAK] UH uh, not guilty! 

[VELMA] 

My sister, Veronica and 

I did this double act 

and my husband, Charlie, 

used to travel round with us 

Now, for the last number in our act, 

we did these 20 acrobatic tricks in a row 

One, 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 some 

I come back, open the door, and there's Veronica and 

Charlie doing Number Seventeen- the spread eagle 

Well, 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 coming 

They had it coming all along 

I didn't do it 

But if I done it 

How could you tell me that I was wrong? 

[VELMA] They had it coming 

[GIRLS] They had it coming 


[GIRLS] 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 say 

He was a real artistic guy... 



(C)2005

26 

sensitive... a painter 

But he was always trying 

to find himself 

He'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 broke 

up 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 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! 



(C)2005

27 

When You’re Good to Mama 

[MAMA MORTON] 

Ask any of the chickies in my pen 

They'll tell you I'm the biggest mother hen 

I love 'em all and all of them love me 

Because the system works 

The system called reciprocity... 

Got a little motto 

Always sees me through 

When you're good to Mama 

Mama's good to you 

There's a lot of favors 

I'm prepared to do 

You do one for Mama 

She'll do one for you 

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 


Mama's good to you 

If you want my gravy 

Pepper my ragout 

Spice it up for Mama 

She'll get hot for you 

When they pass that basket 

Folks contribute to 

You put in for Mama 

She'll put out for you 

The folks atop the ladder 

Are the ones the world adores 

So boost me up my ladder, Kid 

And I'll boost you up yours 

Let's all stroke together 

Like the Princeton crew 

When you're strokin' Mama 

Mama's strokin' you 

So what's the one conclusion 

I can bring this number to? 


Mama's good to you! 



(C)2005

28 

A Little Bit of Good 

[MARY SUNSHINE] 

When I was a tiny tot 

Of maybe two or three 

I can still remember what 

My mother said to me... 

Place rose colored glasses on your nose 

And you will see the robins 

Not the crows 

For in this tense and tangled web 

Our weary lives may weave 

You're so much better off 

If you believe... 

That there's a little bit of good 

In everyone 

In everyone you'll ever know 

Yes, there's a little bit of good 

In everyone 

Though many times, it doesn't show 

It only takes the taking time 

With one another 

For under every mean veneer 

Is someone warm and dear 

Keep looking... 

For that bit of good in everyone 

The ones we call bad 

Are 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 everyone 

Although you meet rats 

They're not complete rats 

So try to find that little bit of good! 



(C)2005

29 

Razzle Dazzle 

[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 circus 

These trials- the whole world- all show business 

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

(Singing) 

Give 'em the old razzle dazzle 

Razzle Dazzle 'em 

Give 'em an act with lots of flash in it 

And the reaction will be passionate 

Give 'em the old hocus pocus 

Bead and feather 'em 

How 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 they’ll never catch wise! 

Give 'em the old Razzle Dazzle 

[BILLY AND COMPANY] 


Give 'em a show that's so splendiferous 

[BILLY] Row after row will crow vociferous 


Give 'em the old flim flam flummox 

Fool and fracture 'em 

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


Throw 'em a fake and a finagle 

They'll never know you're just a bagel 

[BILLY] 


And they'll beg you for more! 


Give 'em the old razzle dazzle 

Razzle dazzle ‘em 



(C)2005

30 

Back since the days of old Methuselah 

Everyone loves the big bambooz-a-ler 

Give 'em the old three ring circus 

Stun and stagger 'em 

When you're in trouble, go into your dance 

Though you are stiffer than a girder 

They'll let you get away with murder 


And you've got a romance 

[COMPANY] Give 'em the old Razzle Dazzle 

[BILLY] 

Give ‘em an act that understandable 

They’ll wait a year til you’re available 

Give 'em the old Razzle Dazzle 


Show 'em the first rate sorceror you are 

Long as you keep 'em way off balance 

How can they spot you've got no talent 





And they'll make you a star! 



(C)2005

31 

References 

Theatre Under the Stars 

American Musical Theatre 

Internet Broadway Database 

Musicals.net 

Musicals101.com 

Broadway: The American Musical 

Andrew Lloyd Webber’s Musicals 

The Rodgers and Hammerstein Organization 

PBS TeacherSource 

Playbill 

Talkin’ Broadway 

Soundtrack Lyrics Source 

Glossary of Technical Theatre Terms 

Wikipedia 

Theatre on a Shoestring 

Arts Alive 

Theater Glossary 

Chicago the Musical 

Encyclopedia of Composers and Songwriter 

Online NewsHour: Chicago the Musical 

www.tuts.com 

www.theatrehistory.com 

www.ibdb.com 

www.musicals.net 

www.musicals101.com 

www.pbs.org/wnet/broadway 

www.reallyuseful.com 

www.rnh.com 

www.pbs.org/teachersource 

www.playbill.com 

www.talkinbroadway.com 

www.stlyrics.com 

www.theatrecrafts.com 

http://en.wikipedia.org 

http://upstagereview.org/Glossary.html 

www.artsalive.ca/en/eth/design 

http://theater.about.com 

www.chicagothemusical.com 

www.pbs.org/wnet/gperf 

www.pbs.org/newshour/home.html 



(C)2005

CHICAGO Study Guide - Theatre Under The Stars

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?