Chicago struck me as a whirlwind of dreams, deceit and corruption all wrapped up in a sultry package of feather boas and neon lights. The themes within Chicago rise and fall as tides, reappearing amongst each other to pose before us the raw, ruthless and condescending human nature. For this purpose, Chicago provides two platforms that always bring out the true nature and intention of people, guaranteed to be cut-throat and dramatic: Showbiz and the American legal system. These are interesting dynamics to share the stage, and while it may seem an odd match at first, it becomes quite clear how much they both depend on the smoke and mirrors of those who have put themselves in just the right places to manipulate it.
Following the story of the demure, hopeful Roxie, we stumble through her pitfalls and accomplishments along her road to Vaudeville. Seeing things as they appear through her eyes, we are leant to give her pause and sympathy, even as she is dripping with lies and finally a full-blown ego. We see her first as the hopeful fan, gazing longingly at Velma Kelly, envious of her freedom to flaunt her sexuality and talent openly and receive such adoration for it. Roxie reaps justice as her own, discarding those she believes to be lying to her or useless in her plight for fame. At one climactic point she is so taken with herself that she nearly denies the help of Billy Flynn, basking in her fifteen minutes of fame and nearly blinded to the fact that she is close to looking death in the face.
The injustice in this work is both frequent and fully accepted by the characters, even as the consequences made blatant and the innocent prosecuted. This is an every-man-for-himself atmosphere and there seems to be only a candy-coated ending for only the most deceitful, those who came out ahead of the game for all their viciousness. Both entertainment and judicial standings are unmasked, stripped of their honorable, positive exterior. We are looking inside these two institutions, and the gears are indeed dirty, greasy and grinding against each other to make it all work. For those on the outside, unaware, it all appears to be polish and order.
Chicago certainly makes the most of it’s musical endeavors. Not only did the music emphasize points of importance and character development in the story, but it also moved the story along, becoming an integral part of the play. This added another dimension of potential to the music, leaving the audience to anticipate musical numbers to provide exciting twists and fast-paced action sequences. The music also becomes the main vehicle to Chicago’s sexual appeal. Throughout the play, in sequences where Roxie is fantasizing or making sense of someone she is meant to idolize, characters (including herself) are always depicted as unleashed sexual mistresses, obviously a repression she longs to break free of. She even puts Billy Flynn in her musings as surrounded by beautiful, scantily-clad women at his beck and call. It is hard to imagine Roxie’s experience unfolding without the aid of the musical performances, our source of knowing how she perceives what is going on inside and around her.
An exception to the dazzling numbers full of writhing body parts and illicit costumes is that of Amos and his burst of crooning. Here is the one guy who has remained faithful, honest and dependable for the duration. Even as the cruel intentions of others are dumped upon him, he carries on, nursing a broken heart and his own humble aspirations. In his song, we see that Amos recognizes his position in the world and that he isn’t happy about it. Though he feels it’s unavoidable, he mopes without ambition to inspire change. We see also a pitiful, submissive German inmate, who, without ability to communicate or scheme her way out as the others, met her demise as the only woman professing innocence and remorse. These two complete the picture, offering a view of the other side of the spectrum. Certainly not given enough exposure to warrant them character status of Roxie or even Mama, they are placed in the background where it seems the honest belong in this world where survival of the fittest seems to be the style everyone’s wearing.
The characters solidly depict the intertwining of preying upon the predator, of success and failure among those who would step on anyone that is naive enough to show an inkling of ability to aid or hinder them in their greed and self-absorption. Here we see not only the plotting and relationships of the antagonists, but also a brilliantly mocking statement about the media and frenzy that it can instill in the public. Our celebrity-centered culture chews so readily on what appears in the papers, spoon-fed to us until people of no credibility or talent can rise to a celebrity position in the hearts and minds of the majority. Ultimately it doesn’t seem to matter anymore why someone is in the news. Just as long as they are put within our daily sights, we can all be comfortable with knowing their face and affording them respect for it. We see Roxie practice her act to become the latest America’s sweetheart, poster child for the evils of gin and jazz. Velma meanwhile obsesses over attempts to top her rival at every turn, all unknown to the blinded public eye, which accepts their every notion.
Chicago thrusts forward a story that displays individuals working an aggressive charm and deceptive allure to achieve what they most desire. This is a rich flow of injustice and scandal, opening us up to see that things might not always be what they seem. Here is a playful romp through the cynical world where the innocent woman dies, the good guy is left alone and the murderers and swindlers are all smiling in the end, misted in glitter and class. Chicago is delivered with all the pizzazz and style that a scandalous story as this depends and flourishes upon. We can definitely draw sense from this pool of sequins and song to apply in our own experiences of celebrity acceptance, if only we had a chorus of nearly-naked dancers to aid in our ponderings.