Chicago Digital Study Guide

Study Guide written by Luisa Appolloni, Education Associate- Enrichment Focus, Education Department, Stratford Festival

INTRODUCTION TO THE GUIDE

"You got nothing to worry about. It's all a circus, kid. A three-ring circus. These trials - the whole world - all show business."
- Billy Flynn, Chicago

In the 1920s, the Chicago press and public were fixated on crimes committed by women. A reporter for the Chicago Tribune, Maurine Dallas Watkins, covered these trials and later wrote a play based on some of their sensational stories. Fast forward to the 1960s, when actress Gwen Verdon, married to director-choreographer Bob Fosse, saw the potential in this play and persuaded him to create a musical adaptation. With the help of composer John Kander and lyricist Fred Ebb, they created a vaudeville-style musical satirizing crime, sex and celebrity status. It premièred in 1975, with a revival in 1996. An audience favourite, Chicago is still popular today as it continues to fascinate and capture our imagination. The musical offers students a unique opportunity to examine gender roles, stereotypes, greed and manipulation through a contemporary lens and to view these issues with a more critical and discerning eye. By seeing the musical and participating in the activities in this guide, students will explore what happens to individuals and society when corruption and deception prevail.

Content Advisory for Students

Explores mature themes.
Contains course language, sexual innuendo and the depiction of violence and death.

Curriculum Connections

Grades 8 +

Themes

• Appearance vs. reality
• Violence and death
• Female empowerment
• Gender stereotypes and identity
• Love and marriage
• Memory
• Greed and corruption
• Ambitions
• Deception and betrayal
• Crime and punishment
• Manipulation
• Celebrity and status
• Media, publicity, journalistic integrity
• Authenticity vs. performative
• Sexuality
• Society and class
• Perversion of justice
• Vaudeville

Three key figures to look for in Chicago

A Perspective on the Piece from the Director

With Donna Feore

What excites you about directing this piece?

The raw material is wonderful. Chicago has brilliant music and a satirical story with deeply seductive characters we fall for in spite of their sins and contradictions.

Could you share your artistic vision for this production?

I am approaching the show with a strong sense of the period (1920s) but seeing it through a very 2020 lens.

Who are these women and what can they say to the women of today?

They're pretty complicated. They're clearly mostly guilty of their crimes, but we begin to understand where they're coming from. And before we know it, we're rooting for them. In the search for something better, these women all struggle with women's traditional place in society. They may go after change in a violent and criminal way, but we can identify with their rage.

Are there aspects of this play, and your particular production, that will resonate with things in the world today that we are maybe not seeing or that we need to re-examine?

The show is incredibly relevant. If you sat down to write a perfect musical for right now, it would be Chicago. I have confidence that a show about the abuse of truth, image and brand building, and open corruption will resonate like crazy.

Are there any specific production elements or other aspects of the staging of the play that audiences might find innovative or unusual?

I have been granted unprecedented freedom to reimagine the show and its choreography, and because I'm putting it up on Stratford's unique thrust stage, which is so immersive for the audience, every single moment must be reconsidered. It's innovative and unusual by definition.

What do you hope audience members will feel during the show? What questions do you want them to leave with? Is there anything that you hope young people might be particularly engaged by?

I hope they'll be blown away by the extraordinary talent of the team we've put together and maybe moved to think a little more deeply about our times. And young people should find everything in Chicago as fresh as their latest social media post.

PRE-SHOW DISCUSSION QUESTIONS

Ask students:

• What is satire?* Why might this musical be considered a satire?
• What shows today satirize current events? What makes them so popular?
• Are there examples today where traditional media and social media have influenced/manipulated the public's perception of events? What persuasive tactics or arguments did they use?
• What is vaudeville?** Why would audiences enjoy this type of entertainment?
• Why might a story about crime, sex and celebrity status be appealing to audiences?
• What qualities do we most admire in a celebrity? Why? What do we least admire and why?
• Lawyers need to make persuasive arguments to win their cases. Is there a limit to how far they should go to guarantee success?
• The musical is set in the 1920s. How has society changed since then? What trends or issues might still remain the same today, particularly with crime, sex and celebrity status?

*Satire: the use of humour, irony or ridicule to expose and criticize stupidity and vice (usually poking fun at politics, governments and other topical issues).

**Vaudeville: a theatrical genre that began in France in the nineteenth century, featuring such variety entertainment as comedy, dancing, singing, acrobats, magicians, one-act plays, etc. 

CLASSROOM ACTIVITY: Headlines!

1 class period: approx. 60 minutes

Headlines handout

Directions:

1. Ask the class what is a headline. Discuss what types of headlines capture people's imagination.
Effective mainstream journalism headlines usually contain the following as they are:
• Short
• Specific
• (hopefully) Factual
• Interesting
• Simple in style
• Targeted to the appropriate readership

Now ask them what tabloid journalism* is compared to mainstream journalism.

*Tabloid journalism sensationalizes crime stories, human tragedies, celebrity gossip, political views and opinions from one perspective in a simplified, easy-to-read style with an emphasis on entertaining rather than reporting factually.

Next, talk about what ethics** are and how they might apply to journalism.

**Ethics: moral principles or professional rules of conduct that govern a person's behaviour.

Some further questions you might ask the students:
• What method do you use today to get reliable news?
• Should the media be allowed to exaggerate news items or the way they tell their stories to evoke some sort of emotional response from the audience?
• What is false information? How can we differentiate false from real news? What consequences should there be for journalists who spread false information?

2. Next, tell the students you will be reading the synopsis of Chicago to them. As they are listening, have them jot down possible headlines.

It's 1920 Chicago, where Roxie Hart murders her lover, Fred Casely, and tries to pin the blame on her hapless and gullible husband, Amos. Upon discovering that she committed the crime, the police arrest her and she is sent to the women's Cook County Jail.
The jail is run by Matron "Mama" Morton, the corrupt warden. Many murderesses are there, including Velma Kelly, a vaudeville performer, imprisoned for murdering her cheating husband and sister. Mama introduces Roxie to Velma's lawyer, Billy Flynn, who is cunning, unscrupulous and mercenary. Amos is persuaded to pay the lawyer's fee and Flynn agrees to take on Roxie's case.
Flynn artfully re-imagines Roxie's story for the benefit of the press - in particular, the tabloid journalist Mary Sunshine, who is always looking for a sob story. As a result, Roxie becomes a celebrity sensation and the public is enthralled.
Meanwhile, Velma has become jealous as her press exposure has evaporated and Roxie's fame has risen. In vain, Velma tries to recruit Roxie to join her in the vaudeville act she once had with her sister.
Roxie, however, discovers in turn that fame is fleeting, as the press ditches her for more sensational news. To regain her notoriety, she announces that she is pregnant. Once again she becomes headline news. But this second burst of celebrity goes to her head, and she fires Flynn, only to reinstate him after she witnesses a fellow inmate's execution.
At the trial, Billy successfully manipulates the court and gets Roxie acquitted. However, Roxie's celebrity status vanishes once more when a more sensational crime gets all the press coverage. Flynn leaves in search of a new and lucrative case. Amos discovers Roxie's pregnancy was a hoax and leaves. Finally, realizing she has no alternative, Roxie teams up with Velma in a new vaudeville act.

3. Next, divide the class into five groups.

4. Give each group a handout of the headlines listed below that connect to the plot and themes of Chicago.

a. "Woman murders her lover and pins blame on her husband!"
b. "Vaudeville star, in a jealous rage, kills her cheating husband and sister!"
c. "Top criminal lawyer cleverly defends client."
d. "Pregnant woman in jail - public shocked."
e. "Woman accused of murdering her lover acquitted."
f. "I will not be bullied into playing a game anymore, says nervous husband."
g. "Celebrity vaudeville stars sparkle in their new act."

5. Students will choose three or four headlines from the list provided and create a still image (tableau*) that best represents what each headline is about. They may even incorporate the headlines they created while listening to the synopsis. (Approx. 20 minutes)

*Tableau (singular) tableaux (plural): A still image with no movement or talking, using the body in various positions and levels, facial expressions, and gestures to tell a story.

6. Then have each group present their tableaux to the rest of the class.

7. Discuss with the entire class the physicality of the images (various techniques to support the depiction of the character and action).

Debriefing Questions:
• What themes really stood out for you? Why?
• Why do these types of headlines capture the public's imagination and interest?
• What are some headlines today that grab our attention in social media? Why?

CLASSROOM ACTIVITY: Discovering Mister Cellophane

1 class: approx. 60 minutes

Mister Cellophane lyrics

Directions:

1. Hand out copies of "Mister Cellophane" lyrics to each student.

2. Stand in a circle and read aloud, with each person taking one line.

3. Review all unfamiliar words and phrases, and check for understanding.

4. Read the lyrics together several times while listening to the YouTube recording.

Ask students:
• What is communicated through the lyrics?
• What is the tone (e.g., happy, mournful, energizing, etc.) of the piece?
• What does this song mean to you?
• What techniques do John Kander (music) and Fred Ebb (lyrics) use to evoke some sort of emotion in the listener?
• How do you imagine the piece would be staged?

5. As a class, discuss what this character means when he feels "invisible."

6. Next, divide the students into four groups.

7. Working collaboratively, each group will use the lyrics and create either a choral speaking* performance piece or a movement** piece.

*Choral Speaking: Ideal for Language Arts, English and Drama courses.
(NOTE: This activity helps struggling readers gain more confidence, as they are working together as an ensemble.)

a. Students will explore the lyrics by reading aloud in many different ways several times.

b. Encourage them to experiment with tone, pace, tempo, volume, repetition, various emotions and even incorporating different variations of groupings (e.g., solo, in twos, threes and/or using the whole group in unison).

c. Students may offer each other helpful suggestions by speaking the lyrics in different ways and patterns.

d. While rehearsing, they may choose to perform this in a "choir" formation (standing in one spot either in a line or grouped together in some creative eye-catching grouping) or by walking into the space one by one or in pairs and then striking a pose while saying their lines. (They may use levels, facial expressions and gestures.)

**Movement: Ideal for Drama and Dance courses.
(Note: This gets lyrics "up on their feet" with the students physically moving without worrying about speaking the lines.)

a. Students will get the lyrics "up on their feet," using their bodies to communicate and express feelings and concepts.

b. Using the soundtrack, they will use different parts of their bodies to convey character, circumstances and themes such as rejection, failure, invisibility, etc.

c. Students should consider the following while rehearsing:

i. Where do you move to or around the playing space?
ii. How best can you express an emotion or idea?
iii. How are you moving in relation to others around you in the playing space during the song?

8. After a sufficient time for rehearsal, have the groups come together and perform their performance piece for the class.

9. Afterward, discuss with the whole class what they discovered while doing this activity.

Debriefing Questions:
• What surprised you the most while doing this activity?
• What images and words really stood out during this activity? Why?
• What techniques did Kander and Ebb use to evoke some sort of emotion from the listener?

POST-SHOW DISCUSSION QUESTIONS

Ask students:

• Which character did you most admire and trust in the musical? Why? What was it about the character that made such an impact on you?
• Which character did you least admire and trust? Why? What was it about the character that made such an impact on you?
• What obstacles did Velma and Roxie have to overcome?
• What do you think Fred Ebb, Bob Fosse and John Kander are suggesting about crime, sex and celebrity status?
• To what extent and in what ways do Velma, Roxie, Billy, Mama and Mary Sunshine use power and persuasion to their advantage?
• What were the key themes that stood out for you in this musical? What do you think is the musical's central message? What do you think the director is trying to say?
• Does this musical resonate with today's gender and gender identity+ issues, power, politics and social media? What are the similarities and differences?
• How did the sets, costumes, lighting and sound contribute to the mood the creative team director, designers, technical experts, etc. was trying to establish?

CLASSROOM ACTIVITY: Deconstructing a musical piece

1-2 classes: approx. 60-120 minutes

"We Both Reached for the Gun" lyrics

Exploring the Music handout

Directions:

These activities are best done after seeing a performance of Chicago at the Stratford Festival, as the students will then have context of what this song is all about.

Marking the Moment: Language Arts, English, Drama
1. Divide the class into four groups. Hand out copies of the lyrics for "We Both Reached for the Gun."

2. Play the Youtube YoutubeYoutubesoundtrack for students to hear and follow along with the lyrics

3. Each group will recreate this scene (just speaking the text, not singing it). They will assign the roles within their group for Billy, Roxie, Mary Sunshine and the press.

4. Next, they will highlight what they think are the important moments within the scene (song). This is called "Marking the Moment." For instance, as they act out the scene (song), they will stop and draw the audience's attention by doing one of the following at any time during the key moments in the scene (song):

a. Freeze the action and create a still image (tableau) at a critical moment to highlight its significance.

b. Repeat or play in a loop an important moment.

c. Use thought-track, in which a character steps out of the scene and speaks to the audience in role, telling them what they are actually thinking or feeling. (This gives us a deeper insight into the character.)

d. Use narration, in which one or more actors step out and speak to the audience to comment on the action of the scene or motivations of certain characters or provide information.

e. Use slow motion to mark the moment.

5. After a sufficient time for rehearsal, have the groups come together and perform their performance piece for the class.

6. Afterward, discuss with the whole class what they discovered while doing this activity.

Exploring the Musical Elements: Music
1. The students will work in pairs. Hand out copies of Exploring the Music in "We Both Reached for the Gun."

2. Play the Youtube Youtubesoundtrack for students to hear, concentrating on the orchestral part first. (Ideally, if your school permits, have the students link into this Youtube recording on their cellphones; otherwise be prepared to play this many times for the students to jot down their observations.)

3. Students will write down on the handout what they observe and hear in the music and answer questions # 1-4. Have them listen to the music several times to have them focus on particular elements and identify various components.

4. Next, hand out to each pair of students copies of the lyrics for "We Both Reach for the Gun." While they are again listening to the recording, following along with the recording, they will then answer question #5.

5. After a sufficient time to write their notes, have the students come together and discuss their findings.

Debriefing Questions:
Language Arts, English, Drama
• What did you discover about the characters while doing this activity?
• What did you discover about other characters' viewpoints?
• Did your initial ideas about this scene change after seeing everyone's various interpretations?
Music
• What did you discover while listening to the music?
• How did the composer (John Kander) manipulate the musical elements to support the lyricist (Fred Ebb)?
• Has your initial response to this piece of music changed as a result of the critical analysis activity? If so, how? If not, why?

Please share your letters with the Stratford Festival! We would love to hear from you.
Attn: Education Department
Re: Chicago
PO Box 520
Stratford, ON N5A 6V2

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@stratfest #sfeducation #sfchicago

SOURCES & RESOURCES

SELECTED BIBLIOGRAPHY FOR CHICAGO STUDY GUIDE

BOOKS
Bloom, Ken and Vlastnik, Frank. Broadway Musicals, Revised and Updated: The 101 Greatest Shows of All Time. Black Dog & Leventhal, 2010.
Green, Stanley and Ginell, Cary. Broadway Musicals: Show by Show. Applause, 2019.
Leve, James. American Musical Theater. Oxford University Press, 2015.
Leve, James. Kander and Ebb. Yale University, 2009.

WEB RESOURCES

Chicago. https://www.concordtheatricals.com/p/2746/chicago
"Fred Ebb," Music Theatre International. https://www.mtishows.com/people/fred-ebb
Fred Ebb Foundation http://fredebbfoundation.org/
"John Kander" Music Theatre International. https://www.mtishows.com/people/john-kander
"Kander and Ebb," Britannica. https://www.britannica.com/biography/Kander-and-Ebb#ref1059345
"Teacher Resources," Toronto Symphony Orchestra. https://www.tso.ca/education/teacher-resources
 

CHICAGO ON FILM, VIDEO and DVD

2002 (USA), Chicago. Directed by Rob Marshall; starring Renée Zellweger, Catherine Zeta-Jones, Richard Gere and Colm Feore. 

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