Go for the history, if nothing else

I ended up going to see the stage version of Chicago at QPAC last night.  I had declined the original invitation of my wife when she bought tickets, as the plan was she would go with my daughter, who pulled out due to, well, generic teenage malaise and/or a recent period of mother/teen daughter tension, so I ended up there instead.

It was...interesting.   Somehow, I had managed to avoid knowing anything about this show apart from the vague understanding that it was something to do with a woman in jail for murder in the jazz era.  (Obviously, this means I didn't see the movie version.)   I didn't realise that it was entirely about women in jail for murder.

Which struck me as an odd thing to write a musical around.  So I was interested to read after the show how this came to be, and Wikipedia, as usual, has a handy summary:

The musical Chicago is based on a play of the same name by reporter and playwright Maurine Dallas Watkins, who was assigned to cover the 1924 trials of accused murderers Beulah Annan and Belva Gaertner for the Chicago Tribune. In the early 1920s, Chicago's press and public became riveted by the subject of homicides committed by women. Several high-profile cases arose, which generally involved women killing their lovers or husbands. These cases were tried against a backdrop of changing views of women in the Jazz age, and a long string of acquittals by Cook County juries of female murderers (jurors at the time were all male, and convicted murderers generally faced death by hanging). A lore arose that, in Chicago, feminine or attractive women could not be convicted. The Chicago Tribune generally favoured the prosecution's case, while still presenting the details of these women's lives. Its rivals at the Hearst papers were more pro-defendant, and employed what were derisively called "sob-sisters" – women reporters who focused on the plight, attractiveness, redemption, or grace of the female defendants. Regardless of stance, the press covered several of these women as celebrities.^[3]
 
Annan, the model for the character of Roxie Hart, was 23 when she was accused of the April 3, 1924,^[4] murder of Harry Kalstedt, who served as the basis for the Fred Casely character. The Tribune reported that Annan played the foxtrot record "Hula Lou" over and over for two hours before calling her husband to say she killed a man who "tried to make love to her". Her husband Albert Annan inspired the character, Amos Hart. Albert was an auto mechanic who bankrupted himself to defend his wife, only for her to publicly dump him the day after she was acquitted. Velma Kelly is based on Gaertner, who was a cabaret singer, and society divorcée. The body of Walter Law was discovered slumped over the steering wheel of Gaertner's abandoned car on March 12, 1924. Two police officers testified that they had seen a woman getting into the car and shortly thereafter heard gunshots. A bottle of gin and an automatic pistol were found on the floor of the car. Lawyers William Scott Stewart and W. W. O'Brien were models for a composite character in Chicago, Billy Flynn. Just days apart, separate juries acquitted both women.^[5]
 
Watkins' sensational columns documenting these trials proved so popular that she wrote a play based on them. The show received both good box-office sales and newspaper notices and was mounted on Broadway in 1926, running 172 performances. Cecil B. DeMille produced a silent film version, Chicago (1927), starring former Mack Sennett bathing beauty Phyllis Haver as Roxie Hart. It was later remade as Roxie Hart (1942) starring Ginger Rogers, but in this version, Roxie was accused of murder without having really committed it.

In the 1960s, Gwen Verdon read the play and asked her husband, Bob Fosse, about the possibility of creating a musical adaptation. Fosse approached playwright Watkins numerous times to buy the rights, but she repeatedly declined; by this point she may have regretted that Annan and Gaertner had been allowed to walk free, and that her treatment of them should not be glamorized.^[4] Nonetheless, upon her death in 1969, her estate sold the rights to producer Richard Fryer, Verdon, and Fosse.^[4] John Kander and Fred Ebb began work on the musical score, modeling each number on a traditional vaudeville number or a vaudeville performer. This format made explicit the show's comparison between "justice", "show-business", and contemporary society. Ebb and Fosse penned the book of the musical, and Fosse also directed and choreographed.

So there you go - as with Anything Goes, and its strange storyline of a female evangelist who was big in 1920's America but of whom I had never heard before, I learnt some interesting social history by having seen a stage musical.

What did I think of the show, apart from its educational value?   It's not bad, and I think the three female leads in particular were very good.   (It's quite a demanding show, physically, for the two main leads.)

But it does suffer worse than your average musical from the second act problem - wherein most shows struggle to match the high at which the first act usually ends.  In particular, the dance and musical ending of this show, after the trial, feels quite underwhelming.   My wife said that the movie ended differently, and that sounds like a good idea.

My other main reservation about the show is that I'm not sure if every production has to (contractly?) look as if it was still choreographed and costumed to be a 70's Bob Fosse production clone, but this version certainly does.  And, well, I have always thought this style looked cheesy:

That photo is from a review of a 2018 production in American, but the styles in last night's show were very, very similar.  Not sure it makes sense in any respect other than wanting to make 70's era homo and hetero sleeze styles look nostalgic.

Anyway, I also got to scope out a possible second balcony seat for next year's Ring Cycle - which I still haven't booked for myself.   Soon, soon.