We live in a time in which everyone thinks they have a story to sell. It is a time when politicians decry the “fake news” one moment while finding a way to control the news spin the next. It is easy to get worked into a frenzy over each latest news flash.
At the heart of CHICAGO is the power of the press and the influence of fame. The story of the play comes from the confluence of cases on Murderesses Row during the 1920s, including those of Belva Gaertner and Beulah Annan, the direct inspirations for Velma and Roxie. Maureen Dallas Watkins, then a young reporter, was assigned to cover the cases for the Tribune. Gaertner and Annan and others relied on their beauty and the abilities of their respective attorneys to spin the public attention—just as Billy does here—and they each ended up getting away with murder. Chicago, overrun with jazz clubs and Al Capone’s influence, featured quite a bit of violence, but Watkins’ stories about the Merry Murderesses proved popular and gained some traction.
Watkins turned her articles (with some creative license) into a Broadway play. Eventually Bob Fosse and Gwen Verdon secured the rights and collaborated with John Kander and Fred Ebb to create this musical celebration of vaudeville. Each number is written as an act, complete with an introduction—for example, “We Both Reached for the Gun” is a ventriloquist act, with Billy fabricating Roxie’s story for the reporters by throwing his voice. Here, we have the reporters running with the story, just as the press (and everyone else) gets caught up in the “fake news” with “Me and My Baby” later. Ultimately it becomes a full three-ring circus in “Razzle Dazzle” before the melodramatic courtroom scene. In the end, Amos, representing the everyman, finds himself not knowing what to believe anymore.
This has been a special but bittersweet production. While we have had many talented performers take the stage, this year’s senior class has done more than any other to take the program forward. Meaghan Neil (Master of Ceremonies) has been involved with Taft Drama since her freshman year, creating a host of different characters primarily in Black Box productions. Emily Lee (June) is in her fourth Taft musical, once again a driving force with her dancing skills. Joe Dowd (Billy) has turned heads since playing Usnavi in IN THE HEIGHTS two years ago. Angelina Davila (Mona) is the first to take four consecutive years of drama classes. And then there’s Giorgia (Roxie), who’s been a stalwart in the program ever since she played Marta in THE SOUND OF MUSIC as a 7th grader. She has been involved in some capacity with every mainstage production over the past five years. And there’s others, too—too many to list here. I couldn’t be prouder of the hard work they and the rest of the cast and crew have done to put CHICAGO together. The production is student-driven, with only students playing in the pit orchestra and operating the lights and sound. I think you'll enjoy the results.
On behalf of all involved, thank you for coming to the show!
—Bryan Wilson, Director
