CHICAGO (OBC1975)

ROXIE ...gone, it's all gone. It's good, isn't it? Grand, isn't it? Great, isn't it? Swell, isn't it? Fun, isn't it? Nowadays There's man, everywhere Jazz, everywhere Booze, everywhere Life, everywhere Joy, everywhere Nowadays You can like the life you're living You can live the life you like You can even marry Harry But mess around with Ike And that's Good, isn't it? Grand, isn't it? Great, isn't it? Swell, isn't it? Fun, isn't it... ANNOUNCER: Ladies and Gentlemen, the Vickers Theater, Chicago's finest home of family and entertainment, is proud to announce a first. The first time, anywhere, there has been an act of this nature. Not only one little lady, but two! You've read about them in the papers and now here they are - a double header! Chicago's own killer dillers - those two scintillating sinners - Roxie Hart and Velma Kelly! ROXIE AND VELMA You can like the life you're living You can live the life you like You can even marry Harry But mess around with Ike And that's Good, isn't it? Grand, isn't it? Great, isn't it? Swell, isn't it? Fun, isn't it? But nothing stays In fifty years or so It's gonna change, you know But, oh, it's heaven Nowadays And that's Good, isn't it? Grand, isn't it? Great, isn't it? Swell, isn't it? Fun, isn't it? But nothing stays In fifty years or so It's gonna change, you know But, oh, it's heaven Nowadays

VELMA Whatever 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? MAMA Class. Whatever happened to Please may I And Yes thank you And How charming? Now every son of a bitch Is a snake in the grass Whatever happened to class? VELMA Class. BOTH Oh, there ain't no gentelmen to open up the doors, There ain't no ladies now there's only pigs and whores And even kids'll knock you down so's they can pass Nobody's got no class!!! VELMA Whatever happened to old values MAMA And fine morals VELMA And good breeding? MAMA Now no-one even says oops When they're passing their gas BOTH Whatever happened to class? Class. Oh, There ain't no gentelmen that's fit for any use, And any girl will touch your privates for a deuce And even kids'll kick your shins and give ya sass Nobody's got no class! VELMA All you read about today is rape and theft MAMA Jesus Christ, ain't there no decency left? BOTH Nobody's got no class! MAMA Every guy is a snot VELMA Every girl is a twat MAMA Holy shit VELMA Holy shit MAMA What a shame VELMA What a shame BOTH What became of class?

BILLY(Spoken) Roxie, you got nothing to worry about. It's all a circus, kid. A three ring circus. These trials- the wholeworld- 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 Razzle dazzle 'em Give 'em a show that's so splendiferous BILLY Row after row will crow vociferous BILLY AND COMPANY Give 'em the old flim flam flummox Fool and fracture 'em BILLY How can they hear the truth above the roar? COMPANY Roar, roar, roar! BILLY AND COMPANY Throw 'em a fake and a finagle They'll never know you're just a bagel, BILLY Razzle dazzle 'em And they'll beg you for more! BILLY AND COMPANY Give 'em the old double whammy Daze and dizzy 'em 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 Razzle dazzle 'em And you've got a romance COMPANY(The same time as BILLY's) Give 'em the old Razzle Dazzle BILLY Give 'em the old Razzle Dazzle Razzle dazzle 'em 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 Razzle Dazzle 'em BILLY AND COMPANY Razzle Dazzle 'em Razzle Dazzle 'em And they'll make you a star!

VELMA Billy, I been thinkin' a lot about my trial. Couldn't I just show you what I thought I might do on the witness stand? BILLY Go ahead. VELMA Good! Hit it! Well then, when I got on the stand I thought I'd take a peek at the jury. Then I'd cross my legs like this, you know. BOYS When Velma takes the stand VELMA Then, when Harrison cross examines me, I thought I'd give 'em this...and then if he yells at me I thought I'd tremble like this..."ooh, no, please stop!" BOYS When Velma takes the stand Look at little Vel See her give 'em hell When she turns it on Ain't she doin' grand? She's got 'em eating out of the palm of her hand! VELMA Then, I thought I'd let it all be too much for me, like real dramatic. Then, I thought I'd get thirsty and say, "Please, someone, could I have a glass of water?" BOYS When Velma takes the stand See that Kelly girl Make that jury whirl When she turns it on She's gonna get 'em goin' 'Till she's got 'em gone VELMA Ah! Ah! Ah! Then, I thought I'd cry. Buckets. Only I don't have handkerchief - that's when I have to ask you for yours! I really like that part. Don't you? Then, I get up and try to walk; oh, but I'm too weak, and I slump and I slump and I slump and I slump until finally, I faint! BOYS When she rolls her eyes Watch her take the prize When Velma takes the stand! When Velma takes the stand!

AMOS If someone stood up in a crowd And raised his voice up way out loud And waved his arm And shook his leg You'd notice him If someone in the movie show Yelled "fired in the second row, This whole place is a powder keg!" You'd notice him And even without clucking like a hen Everyone gets noticed, now and then, Unless, of course, that personage should be Invisible, inconsequential me! Cellophane Mister cellophane Should have been my name Mister cellophane 'cause you can look right through me Walk right by me And never know I'm there! I tell ya Cellophane Mister cellophane Should have been my name Mister cellophane 'cause you can look right through me walk right by me And never know I'm there. . . Suppose you was a little cat Residin' in a person's flat Who fed you fish and scratched your ears? You'd notice him Suppose you was a woman wed And sleepin' in a double bed beside one man for seven years You'd notice him A human being's made of more that air With all that bulk , you're bound to see him there Unless that human bein' next to you Is unimpressive, undistinguished You know who. . . Should have been my name Mister cellophane 'cause you can look right through me Walk right by me And never know I'm there I tell ya Cellophane Mister cellophane Should have been my name Mister cellophane 'cause you can look right through me Walk right by me And never know I'm there Never even know I'm there

ROXIE My Dear Little Baby VELMA (Mimicing). My Dear Little Baby ROXIE My Sweet Little Baby VELMA (Mimicing) My Sweet Little (Grummbled) Baby ROXIE Look At My Baby And Me Me And My Baby My Baby And Me We're 'Bout As Happy As Babies Can Be What If I Find That I'm Caught In A storm? I Don't Care My Baby's There And Baby's Bound To Keep Me Warm We're Sticking Together And Ain't We Got Fun So Much Together You'd Count Us As One Tell Old Man Worry To Go Climb A Tree 'Cause I've Got My Baby My Sweet Little Baby Look At My Baby And Me ACTO 2 Velma da la bienvenida otra vez a las audiencias con la línea “hola, los lechones,” otra referencia a Tejas Guinan, que saludó comúnmente a sus patrón con la misma frase. Ella informa a las audiencias el funcionamiento continuo de Roxie de la suerte (“conozco a una muchacha”) a pesar de las falsedades obvias de Roxie (“yo y mi bebé”). Un poco tímido en la aritmética, Amos demanda orgulloso paternity, y todavía nadie lo nota (“Sr. Celofán "). Velma intenta demostrar a Billy todos los trucos que ella ha planeado para su ensayo (“cuando Velma toma el soporte”). El forte del Billy puede ser showmanship (“Razzle deslumbra”), pero cuando él pasa las ideas de todo el Velma encendido a Roxie, abajo a las hebillas del zapato del rhinestone, Mama y Velma lamenta del fallecimiento de la “clase”. Según lo prometido, el Billy consigue a Roxie su absolución pero, apenas pues se da el veredicto, un cierto aún más crimen del sensational separa el paquete de bloodhounds de la prensa, y la vida efímera de la celebridad de Roxie encima. Izquierda en el polvo, ella se tira hacia arriba y extols las alegrías de la vida “hoy en día”. Ella equipos para arriba con Velma en ese acto de la hermana, en el cual bailan y realizan el “trapo caliente de la miel” hasta que son ensamblados por la compañía entera para el “Finale magnífico”.

ANNOUNCIER And now, Miss Roxie Hart and Miss Velma Kelly sing a song of unrelenting determination and unmitigated ego! VELMA AND ROXIE One thing I know One thing I know And I've always known And I've always known I am my own I am my own Best friend Baby's alive Baby's alive But baby's alone But baby's alone And baby's her own And baby's her own Best friend Many's the guy Who told me he cares But they were scratchin' my back 'Cause I was scratchin' theirs And trusting to luck And trusting to luck That's only for fools Only for fools I play in a game I play in a game Where I make the rules And rule number one From here to the end Is 'I am my own best friend' Three musketeers Who never say die Are standing here this minute Me Me Myself Myself And I! And I! If life is a school I'll pass every test If life is a game I'll play it the best 'Cause I wont give in and I'll never bend And I am my own best friend!

ANNOUNCER ladies and gentleman miss velma kelly in an act of desperation VELMA KELLY my sister and i had an act that couldn't flop, my sister and i were headed straight for the top, my sister and earned a thou a week at least, oh yea but my sister is now unfortuntly deceased, i know its sad of course but a fact is still a fact and now all that remains is the remains, of a perfect... double... act watch this! now you have to imagine it with two people, it's swell with two people, first i'd, then she'd then we'd but i can't do it alone then she'd then i'd then we'd but i can't do it alone she'd say what's your sister like i'd say men she'd say you're the cats meow then we'd wow the crowd again when she'd go i'd go we'd go then those ding dong daddies started to roar whistled, stomped, stamped on the floor, yelling, screaming, begging for more, and we'd say ok fellows, keep your socks up, cause you ain't seen nothing yet but i simply cannot do it alone, so what'd ya think huh? come on you can say (roxie blows a rasberry) (velma) i know you're right the first part is s*** but the second part, the second part is really nifty, ok she'd go i'd go we'd go then those two-bit johnny's did it aproud to cheer the best attraction in town they nearly tore the balcony down, and we'd say ok boys we're going home, but before we go here's a few more partin' shots, and this, this we did in perfect unison now you see me going through it you make think there's nothing to it but i simply cannot do it... alone(hold note)

ROXIE The name on everybodies lips is gonna be: Roxie The lady raking in the chips is gonna be: Roxie I'm gonna be a celebrity, That means somebody everyone knows, They're gonna recognise my eyes, my hair,, my teeth, my boobs, my nose. From just some dumb mechanics wife, I'm gonna be: Roxie Who says that murder's not an art? And who incase she doesn't hang, Can say she started with a bang? Roxie Hart! [She laughs] Boys? BOYS They're gonna wait outside in line to get to see, ROXIE AND BOYS Roxie! ROXIE Think of those autographs I'll sign: Good luck to ya'. BOYS Roxie! ROXIE And I'll appear in a lavaliere that goes all the way down to my waist BOYS Here a ring, there a ring Everywhere a ring-a-ling ROXIE But always in the best of taste! [Roxie] - Spoken Mmmmmmmm, I'm a star! And the audience loves me. And I love them. And they love me for loving them, And I love them for loving me. And We love each other. That's because none of us Got enough love in our childhoods. And that's showbiz... Kid! BOYS She's giving up her hum-drum life. ROXIE I'm gonna be, sing it! ROXIE AND BOYS Roxie! BOYS She made a scandal and an start ROXIE And Sophie Tucker will shit I know, To see her name get billed below, Roxie Hart! BOYS Chuh, chuh, chuh, etc... ROXIE Oooh ah ah ah ah ah ah (As boys exit) Those are my boys.

mr. billy flynn and the press conference rag notice how his mouth never moves......almost where’d you come from mississippi and your parents very wealthy where are they now six feet under but she was granted one more start the convent of the sacred heart when’d ya get here 1920 how old were you don’t remember then what happened I met amos, then he stole my heart away convinced me to elope one day MARY SUNSHINE oh you poor dear I can’t believe what you’ve been through a convent girl a runaway marriage, now tell us roxie who’s fred casely my ex-boyfriend REPORTERS why’d you shoot him I was leaving was he angry like a madman still I said fred move along she knew that she was doing wrong then describe it he came toward me with the pistol from my bureau did you fight him like a tiger he had strength and she had none and yet we both reached for the gun Oh yes oh yes oh yes we both oh yes we both oh yes we both reached for the gun the gun the gun the gun oh yes we both reached for the gun for the gun REPORTERS 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 BILLY FLYNN under-stand-able, under-stand-able yes it perfectly under-stand-able compre-hen-sible, compre-hen-sible not a bit reprehensible, its sooo de-fen-si-ble REPORTERS how ya feelin’ very frightened (mary sunshine) are you sorry ROXIE are you kidding? what’s your statement all I’d say is though my choo-choo jumped the track I’d give my life to bring him back and stay away from what jazz and liquor and and the men who what play for fun and what that’s the thought that yeah came upon me when when we both reached for the gun!!!!!!!!!! MARY SUNSHINE under-stand-able, under-stand-able BILLY FLYNN AND MARY SUNSHINE yes it perfectly under-stand-able compre-hen-sible, compre-hen-sible not a bit reprehensible, its sooo de-fen-si-ble (ding) (reporters slowly at first then start to pick up speed) Oh yes oh yes oh yes they both oh yes they both oh yes they both reached for (lemme hear it)the gun the gun the gun the gun oh yes they both reached for the gun for the gun BILLY FLYNN a little louder Oh yes oh yes oh yes they both oh yes they both oh yes they both reached for(oh yeah) the gun the gun the gun the gun oh yes they both reached for the gun for the(now ya got it) gun BLILLY FLYNN AND REPORTERS 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 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(x12) BILLY FLYNN both reached for the(hold note) gun(hold note) (reporters) the gun(x12) both reached for the gun

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 the tense and tangled web Our weary lives can 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 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 Is someone warm and dear Keep looking... For that little bit of good in everyone Although you meet rats They're not complete rats So try to find that little bit of good!

ANNOUNCER Ladies and Gentlemen, presenting the silver-tounged prince of the courtroom, the one, Mr Billy Flynn! GIRLS We want Billy Where is Billy? Give us Billy We want Billy B-I-Double L-Y. We're all his He's our kind of a guy And ooh what luck 'Cause here he is. ANNOUNCER is every body here? is every body ready? Billy BILLY I don't care about expensive things Cashmere coats, diamond rings Don't mean a thing All I care about is love GIRLS That's what he's here for BILLY I don't care for wearin' silk cravats Ruby studs, satin spats Don't mean a thing All I care about is love GIRLS All he cares about is love BILLY Gimme two eyes of blue Softly saying "I need you"need you Let me see her standin' there And honest, Mister, I'm a millionaire I don't care for any fine attire Vanderbilt might admire No, no, not me All I care about is love... GIRLS All he cares about is love. BILLY It may sound odd But all I care about is love GIRLS That's what he's here for BILLY AND GIRLS Honest to god All I care about is love GIRLS All he cares about is love BILLY Show me long raven hair Flowin' down, about to there And when I see her runnin' free Keep your money, that's enough for me I don't care for drivin' packard cars Or smoking long, buck cigars No, no, not me All I care about is Doin' the guy in Who's pickin' on you Twistin' the wrist That's turnin' the screw BILLY AND GIRLS All I (he) care(s) about is love!

Ladies and gentlemen - the Keeper of the keys, the Countess of the clink, the mistress of Murderers Row, Matron Mama Morton! MAMA MORTON Ask any of the chickies in my pen They'll tell you I'm the biggest Mutha. . . .Hen I love them 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 - When you're good to Mama Mama's good to you! If you want my gravy Pepper my ragu - Spice it up for Mama She'll get hot for you! When they pass that basket Folks conribute to - You put in for Mama She'll put out for you! The folks a top 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? When you're good to Mama Mama's good to you!!

[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! [LIZ] Pop [ANNIE] Six [JUNE] Squish [HUNYAK] Uh uh [VELMA] Cicero [MONA] Lipschitz! [LIZ] Pop [ANNIE] Six [JUNE] Squish [HUNYAK] Uh uh [VELMA] Cicero [MONA] Lipschitz! (4X) [ALL] He had it coming 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! (2X) [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 had it coming He had it coming He only had himself to blame If you'd have been there If you'd have heard it I betcha you would Have dome the same! [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 had it coming He had it coming 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 been there If you'd have seen it I betcha you would have done the same! [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... [JUNE (Spoken)] Yeah, but di 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 [GIRLS] They had it coming [VELMA] They had it coming [GIRLS] They had it coming [VELMA] They had it coming all along [GIRLS] They had it coming all along [VELMA] I didn't do it [GIRLS] She didn't do it [VELMA] But if I done it [GIRLS] But if she done it [VELMA] How could you tell me that I was wrong? [VELMA] They had it coming [GIRLS] They had it coming [VELMA] They had it coming [GIRLS] They had it coming [VELMA] 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... 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 2] They had it comin' [Group 1] They had it comin' [Group 2] They had it comin' [Group 1] They had it comin' [Group 2] 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.

ROXIE Sometime's I'm right Sometime's I'm wrong But he doesn't care He'll String along He loves me so That funny honey of mine Sometime's I'm down Sometime's I'm up But he follows 'round Like some droopy-eyed pup He love me so That sunny honey of mine He ain't no sheik That's no great physique Lord knows, he ain't got the smarts Oh, but look at that soul I tell you, the whole Is a whole lot greater than The sum of his parts And if you knew him like me I know you'd agree What if the world Slandered my name? Why, he'd be right there Taking the blame He loves me so And it all suits me fine That funny, sunny, honey Hubby of mine AMOS (Spoken) A man's got a right to protect his home and his loved ones, right? FOGARTY (Spoken) Of course, he has. AMOS (Spoken) Well, I came in from the garage, Officer, and I see him coming through the window. With my wife Roxanne there, sleepin'...like an angel... ROXIE He loves me so That funny honey of mine AMOS (Spoken) ...an angel! AMOS (Spoken) I mean supposin', just supposin', he had violated her or somethin'...you know what I mean... viloated? FOGARTY (Spoken) I know what you mean... AMOS (Spoken) ...or somethin'. Think how terrible that would have been. It's a good thing I came home from work on time, I'm tellin' ya that! I say I'm tellin' ya that! ROXIE He loves me so That funny honey of mine FOGARTY (Spoken) Name of deceased... Fred Casely. AMOS (Spoken) Fred Casely. How could he be a burglar? My wife knows him! He sold us our furniture! ROXIE Lord knows he ain't got the smarts AMOS (Spoken) She lied to me. She told me he was a burglar! FOGARTY (Spoken) You mean he was dead when you got home? AMOS (Spoken) She had him covered with a sheet and she's givin' me that cock and bull story abou this burglar, and I ought to say that I did it 'cause I was sure to get off. Burglar, huh! ROXIE Now, he shot off his trap I can't stand that sap Look at him go Rattin' on me With just one more brain What a half-wit he'd be If they string me up I'll know who Brought the twine AMOS (Spoken) And I believed her! That cheap little tramp. So, she Was two-timing me, huh? Well, then, she can just Swing for all I care. Boy, I'm down at the garage, Working my butt off fourteen Hours a day and she's up mucnhin' on god-damn bon bons and jazzing. This time she pushed me too far. That little chiseler. Boy, what I sap I was! ROXIE That scummy, crummy Dummy hubby of mine!

Come on babe, why don't we paint the town, and all that Jazz I'm gonna rouge my knees and roll my stockin's down And all that Jazz 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 And all - a-that - Ja-yazz Slick your hair and wear your buckle shoes, and all that jazz I hear that Father Dip is gonna blow the blues, and all that jazz Hold on hon, we're gonna bunny-hug I bought some aspirin down at United Drug In case we shake apart and want a brand new start To do - a-that - Ja-yazz Oh, you're gonna see your sheba shimmy-shake, and all that jazz Oh, I'm gonna shimmy till my garters break, and all that jazz Show me where to park my girdle, oh, my mother's blood'd curdle If she'd hear her baby's queer For all - that - Ja-yazz Find the flask we're playin' fast and loose (Oh, you're gonna see a shiver-shimmy-shake) And all that jazz, and all that jazz Right up here is where I store the juice (Oh I'm gonna shimmy till my garters break) And all that jazz, and all that jazz Come on babe we're gonna brush the sky (Show me where to park my girdle) I bet you lucky Lindy never flew so high (Oh, my mother's blood'd girdle) 'Cause in the stratosphere, how could he lend an ear (If she'd hear her baby's queer) To all that ja-yazz No I'm no-one's wife, but oh I love my life And all... that... Ja-yazz..., that Jazz

ACTO PRIMERO El Kelly de Velma es a vaudevillian quién asesinó a su marido y a su hermana cuando ella los encontró en cama juntos. Ella da la bienvenida a la demostración de la esta noche de las audiencias (“todo ese jazz”). Mientras tanto, oímos hablar del asesinato de su amante, nightclub Fred regular Casely del ciervo de Roxie de la muchacha de estribillo. Roxie convence a su marido Amos de que la víctima fuera un ladrón, y los Amos toman alegre el rap. Roxie exprime su aprecio del cráneo grueso de su marido (“miel divertida”). Sin embargo, cuando el policía menciona el nombre Amos del difunto tardío pone dos y dos juntos. La verdad sale, y se arresta Roxie. Le envían al bloque de las mujeres en la cárcel del condado del cocinero, habitada por Velma y otros murderesses (“bloque Tango de la célula”). El bloque es presidido encima por el Matron corrupto “Mama” Morton, que sistema de la ayuda mutua (“cuando usted es bueno al Mama”) perfectamente satisface su clientèle. Ella ha ayudado a Velma para hacer la asesinar-de--semana superior de los medios y está actuando como agente de reservación para la vuelta grande de Velma al vaudeville. Velma no es feliz ver Roxie, que está robando no sólo a su luz de calcio pero a su abogado, Billy Flynn. Roxie intenta convencer a los Amos que paguen el Billy Flynn ser su abogado (“una danza del golpecito”). Aguardado con impaciencia por su clientèle de la todo-muchacha, el Billy canta su himno, termina con un estribillo de los bailarines del ventilador para probar su aserción que “todo cuidado de I sea alrededor amor”. El Billy toma el caso de Roxie y cambia su historia para la consumición por la sol comprensiva de Maria del columnista del tabloid, que intenta siempre encontrar “un poco de bueno” en cada uno. Las vueltas de la rueda de prensa de Roxie en un ventriloquist actúan con el Billy que dicta una nueva versión de la verdad (“nosotros ambos alcanzados para el arma”) mientras que las bocas de Roxie las palabras. Roxie se convierte en la nueva tostada de Chicago mientras que la fama de Velma se deja en el polvo. Los intentos de Velma para hablar Roxie en la reconstrucción del acto de la hermana (“no puedo hacerlo solamente”), solamente Roxie le da vuelta abajo, sólo para encontrar sus propios títulos substituidos por el crimen más último del sordid de la pasión. Por separado, Roxie y Velma realizan que hay nadie que pueden contar en pero ellos mismos (“mi propio mejor amigo”), y el Roxie siempre-inventivo decide a que el ser embarazado en la prisión la pondría detrás en la página delantera. El musical se estrenó el 3 de junio de 1975 y duró en escena hasta 1977. Las críticas fueron mixtas. Debió competir en ese momento con gigantes como A Chorus Line. En 1996 se hizo una nueva versión dentro de la serie de "Encores!" desarrollados por City Center que tenía como objetivo traer a la luz musicales olvidados. El show fue excepcionalmente bien recibido. El 4 de noviembre de 1996 fue restrenado en otra versión, Chicago: The Musical, con halagos de la crítica y el público. Se convirtió en el musical con el período más rápido de recuperación de sus costos, en parte debido a su naturaleza minimalista en cuanto a decorados y vestuario. Los cambios en la sociedad, como el juicio a OJ Simpson, la encontraron más receptiva al tema de la obra. Chicago: The Musical ganó 6 Tonys. La grabación obtuvo también un Grammy. Actualmente Chicago detenta también el record de la reposición más duradera. Se han realizado además producciones en varios países.