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As the OVERTURE ends, we're introduced to Velma Kelly -- a vaudevillian
who shot the other half of her sister act when she caught her husband
with her sister. Velma invites us to sample ALL THAT JAZZ while
showing us the story of chorus girl Roxie Hart's cold-blooded murder
of nightclub regular Fred Casely. Roxie convinces her husband Amos
that the victim was a burglar, and he cheerfully takes the rap.
Roxie expresses her appreciation in song (FUNNY HONEY) until the
police reveal to Amos that Roxie knew the burglar, shall we say,
intimately, and Amos decides to let her swing for herself. Roxie's
first taste of the criminal justice system is the women's block
in Cook County Jail, inhabited by Velma and other merry murderesses
(CELL BLOCK TANGO). The women's jail is presided over by Matron
"Mama" Morton whose system of mutual aid (WHEN YOU'RE
GOOD TO MOMMA) perfectly suits her clientele. She has helped Velma
become the media's top murderer-of-the-week and is acting as booking
agent for Velma's big return to vaudeville (after her acquittal,
naturally.)
Velma is not happy to see Roxie, who is stealing not only her limelight
but her lawyer, Billy Flynn. Eagerly awaited by his all-girl clientele,
Billy sings his anthem, complete with a chorus of fan-dancers to
prove that (quote) (ALL I CARE ABOUT IS LOVE.) Billy takes Roxie's
case and re-arranges her story for consumption by sympathetic tabloid
columnist Mary Sunshine, who always tries to find A LITTLE BIT OF
GOOD in everyone. Roxie's press conference turns into a ventriloquist
act with Billy dictating a new version of the truth (WE BOTH REACHED
FOR THE GUN) while Roxie mouths the words. Roxie becomes the new
toast of Chicago and Velma's headlines, trial date and career are
left in the dust. Velma tries to talk Roxie into recreating the
sister act (I CAN'T DO IT ALONE) but Roxie turns her down, only
to find her own headlines replaced by the latest sordid crime of
passion. Separately, Roxie and Velma realize there's no one they
can count on but themselves (MY OWN BEST FRIEND), and the ever-resourceful
Roxie decides that being pregnant in prison would put her back on
the front page.
Back after the ENTR'ACTE, Velma cannot believe Roxie's continual
run of luck (I KNOW A GIRL) despite Roxie's obvious falsehoods (ME
AND MY BABY). A little shy on the arithmetic, Amos proudly claims
paternity, and still nobody notices him, MR. CELLOPHANE. Velma desperately
tries to show Billy all the tricks she's got planned for her trial
(WHEN VELMA TAKES THE STAND). Billy's forte may be showmanship (RAZZLE
DAZZLE), but when he passes all Velma's ideas on to Roxie, down
to the rhinestone shoe buckles, Mama and Velma lament the demise
of CLASS. As promised, Billy gets Roxie her acquittal but, just
as the verdict is given, some even more sensational crime pulls
the pack of press bloodhounds away, and Roxie's fleeting celebrity
is over. Left in the dust, she pulls herself up and extols the joys
of life NOWADAYS. She teams up with Velma in that sister act (NOWADAYS),
in which they dance their little hearts out (HOT HONEY RAG) 'til
they are joined by the entire company for the grand FINALE.
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