Director’s Notes
In 1975, the
songwriting team of John Kander and Fred Ebb launched Chicago on Broadway. Featuring iconic choreography by Bob Fosse, it
ran for two years, then languished in semi-obscurity, playing mostly in
community theatres, colleges, and universities (including both of my alma maters). Despite the great music
and satirical storytelling, it seemed that no one was very interested in a play
about criminals.
Then in July
1994, OJ Simpson drove his white Ford Bronco up the 405 after he murdered his
wife and her lover. His trial, dubbed the “Trial of the Century”, was fodder to
the tabloids and simply riveting to the millions of people who watched every second
of it on their TVs. It became clear that the American public had a real
appetite for stories about murderers. Theatrical producers took note, and Chicago was revived on Broadway in 1996,
where it still runs today. The filmed version, which won six Academy Awards in
2002—including Best Picture—introduced a host of new fans to the show.
I have
always had a real fondness for this musical. I love that it is funny, dark, and
more than a little racy. Its subtitle is “A Musical Vaudeville,” and most of
the music is an homage to a specific vaudeville performer. Kander and Ebb wrote
songs that recollect Helen Morgan, Ted Lewis, Bert Williams, Julian Eltinge,
and the last of the red-hot mamas herself, Sophie Tucker. This production of Chicago highlights these vaudeville aspect of the show, as we are presenting
it as though the cast is made of up members of a vaudeville troupe who is
putting on a show. The performance you will see is an authentic, 1920s take on this
now well-known musical. I am incredibly grateful to the entire team that has
come together to present this show. Everyone has worked tirelessly, and we hope
you enjoy it.
--Katie
Rodda, Director
