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.

Table of Contents
Section I: Introduction
a. Brief History of TUTS1
b. Purpose of study guide1

Section II: Musical Theatre 101

a.
b.
c.
d.
e.
f.
g.
h.
i.

What is musical theatre? 2

Brief History2-3
Elements of Production3-5
How is it different from other media?.5
Why is it important? ...5
Glossary....6-8
How a Musical is Born....9
Theatre Etiquette ...10
Review Questions and Activities..11-12

Section III: About the Show - Chicago

a.
b.
c.
d.

Background...13
Creative Team...14
Characters and Song List..15
Synopsis....16

Section IV: Junior High & High School Curriculum

a. Discussion Questions/Written Assignments Dig a Little Deeper17
i. Historical Context..17
ii. Theme17
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 Lyrics21-30
All That Jazz21-22
Cell Block Tango.23-26
When Youre Good to Mama..27
A Little Bit of Good28
Razzle Dazzle..29-30
c. References...31

Section I Introduction
History of Theatre Under The Stars
Theatre Under The Stars (TUTS), founded in 1968 by Frank M. Young, is Houstons acclaimed
musical theatre production company. During its 34 seasons, TUTS, one of Americas 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 peoples 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 Americas School, 1985

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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.
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During the late 1950s and early 1960s, 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
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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 audiences 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 designers 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 scenes
needs. The sound operator executes the sound designers 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 performers face and body to increase visibility,
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enhance certain features, and modify the actors 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 entracte 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.

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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 VIPs
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

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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 (audiences 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 (audiences 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 performers face and body
Marquee a signboard projecting over the theaters 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

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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 (performers point of view)
Stage Manager one who is responsible for the quality of the shows production, assists the
director and oversees the show at each performance
Stage Right the right side of the stage, when facing the audience (performers 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 persons 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

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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?
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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.

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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 Cohans 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 peoples attitude in the
late 1950s 1960s?
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?
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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.

1st 5th 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. Everyones 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)

6th 12th 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.
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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, Chicagos dark humor and cynical songs about Americas justice system
did not appeal to audiences during the 1970s, 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.

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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.

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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 Chicagos 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 Roxies 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

Billys story about Roxies innocence

Song List
Act I

Act II

Overture
All that Jazz
Funny Honey
The Cell Block Tango
When Youre Good to Mama
All I Care About
A Little Bit of Good
We Both Reached for the Gun
Roxie
I Cant Do It Alone
My Own Best Friend

Entracte
I Know a Girl
Me and My Baby
Mr. Cellophane
When Velma Takes the Stand
Razzle Dazzle
Class
Nowadays
Hot Honey Rag

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Synopsis
Act I
As the Overture comes to a close, we meet Velma Kelly, Chicagos 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 Youre 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 Roxies case and tells it to the sympathetic columnist Mary Sunshine, who always
tries to find A Little Bit of Good in everyone. Roxies 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 medias 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 Cant 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 Velmas 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 Entracte, Velma expresses her disbelief of Roxies 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 Roxies 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.

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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 1920s? 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 Chicagos 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 Sunshines naivet 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 Youre Good to Mama in Section V. What does Mama Mortons
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?

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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
shows 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.

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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 moviesand 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 womenBelva
Gaertner and Beulah Annanaccused 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 Gaertnerthe model for Velma Kellywas 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 Annanthe inspiration for Roxie Hartwas 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 Gaertnerdubbed 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 Annanthe "prettiest woman" on
Murderess Rowwas 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.
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"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 mebut 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 celebritiesand 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 1920s 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 alongall 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."

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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
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 that jazz
[VELMA]
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 you shake apart
And want a brand new start
To do that[ROXIE] Jazz
[COMPANY] Skidoo!
[VELMA] And all that jazz
[COMPANY] Hotcha! Whoopee!
[VELMA] And all that jazz
[COMPANY] Ha! Ha! Ha!
[VELMA]
It's just a noisy hall
Where there's a nightly brawl
And all that jazz
Find a flask
We're playing fast and loose
[ALL] And all that jazz
[VELMA]
Right up here
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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
[VELMA] And all that jazz
[COMPANY] Oh, she's gonna shimmy 'till her garters break
[VELMA] And all that jazz
[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]
And all that jazz
And all that jazz
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
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 that[COMPANY] Jazz
[VELMA]
No, I'm no one's wife
But, Oh, I love my life
And all that jazz!
[COMPANY] That jazz!

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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 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 had it coming
He had it coming
He only had himself to blame
If you'd have been there

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If you'd have heard it
I betcha you would have done 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...

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[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
[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...

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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
[ALL] I betcha you would have done the same!

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When Youre 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
When you're good to Mama
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?
When you're good to Mama
Mama's good to you!

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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!

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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 theyll 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?
[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 razzle dazzle
Razzle dazzle em

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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] Give 'em the old Razzle Dazzle
[BILLY]
Give em an act that understandable
Theyll wait a year til youre available
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!

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References
Theatre Under the Stars

www.tuts.com

American Musical Theatre

www.theatrehistory.com

Internet Broadway Database

www.ibdb.com

Musicals.net

www.musicals.net

Musicals101.com

www.musicals101.com

Broadway: The American Musical

www.pbs.org/wnet/broadway

Andrew Lloyd Webbers Musicals

www.reallyuseful.com

The Rodgers and Hammerstein Organization

www.rnh.com

PBS TeacherSource

www.pbs.org/teachersource

Playbill

www.playbill.com

Talkin Broadway

www.talkinbroadway.com

Soundtrack Lyrics Source

www.stlyrics.com

Glossary of Technical Theatre Terms

www.theatrecrafts.com

Wikipedia

http://en.wikipedia.org

Theatre on a Shoestring

http://upstagereview.org/Glossary.html

Arts Alive

www.artsalive.ca/en/eth/design

Theater Glossary

http://theater.about.com

Chicago the Musical

www.chicagothemusical.com

Encyclopedia of Composers and Songwriter

www.pbs.org/wnet/gperf

Online NewsHour: Chicago the Musical

www.pbs.org/newshour/home.html

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