OnlineSeats offers premium unique Chicago-the-musical theater tickets. Chicago-the-musical tickets may be purchased online through our guaranteed safe and secure server. For faster service please order tickets through our web site .
Chicago The Musical is based in the roaring 1920's with lots of hot jazz - and cold-blooded killers!... songs include 'All That Jazz', 'Funny Honey', 'Mr Cellophane', 'Nowadays' and 'Razzle Dazzle'.
The Broadway production won 6 1997 Tony Awards including 'Best Revival of a Musical', 'Best Lighting Design', 'Best Choreography' and 'Best Direction of a Musical'.
Chicago is a musical, first performed in 1975, based on the play Chicago by Maurine Dallas Watkins. Its book was by Bob Fosse and Fred Ebb, music by John Kander, and lyrics by Fred Ebb.
The play Chicago was Watkins' retelling of two very public trials for murder that occurred in Chicago in 1924, those of Beulah Annan and Belva Gaertner. Watkins had been a reporter for the Chicago Tribune and later wrote a play based on her coverage.
Chicago Musical
Gwen Verdon read the play and asked her ex-husband Bob Fosse about the possibility of creating a musical based on it. Fosse approached Watkins for permission to adapt her play but was consistently refused. He obtained the rights from her estate following her death in 1969 leading to the development of Chicago: A Musical Vaudeville, which made the play's comparison between "justice" and "show-business" explicit by conceptualizing the plot as a series of vaudeville acts.
The play was produced in 1975, starring Chita Rivera as Velma Kelly, Gwen Verdon as Roxie Hart, and Jerry Orbach as Billy Flynn. Liza Minnelli served as a replacement for Gwen Verdon for a month in 1975, and her Broadway "comeback" generated publicity which helped lengthen the run of the show. When Verdon left the show, Fosse's girlfriend Ann Reinking stepped into the role.
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Gwen Verdon read the play and asked her ex-husband Bob Fosse about the possibility of creating a musical based on it. Fosse approached Watkins for permission to adapt her play but was consistently refused. He obtained the rights from her estate following her death in 1969 leading to the development of Chicago: A Musical Vaudeville, which made the play's comparison between "justice" and "show-business" explicit by conceptualizing the plot as a series of vaudeville acts.
