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Chicago (Theatre)
- 517 statements
- 101 feature instances
- 119 referencing feature instances
| Chicago (Theatre) | type |
TVTItem | |
| Chicago (Theatre) | label |
Chicago (Theatre) | |
| Chicago (Theatre) | page |
Chicago | |
| Chicago (Theatre) | comment |
Chicago, a musical originally choreographed, directed and co-written by the legendary Bob Fosse in 1975, is the story of Roxie Hart, a wannabe cabaret star in 1920s Chicago. She sleeps around unknown to her husband, Amos, but has a falling-out with one of her lovers, shoots him and is arrested for murder. In prison, she develops a rivalry with the star Velma Kelly, who killed her own husband and sister.Roxie, through bribing the prison warden, Mama Morton, gets the best lawyer in town, Billy Flynn. Billy is a smooth-talking trickster who has never lost a case. As tensions mount and the media make Roxie a star, fame begins to get to Roxie's head. But the press will love her even more if she is found guilty...A biting satire of celebrity trials, the press and show business in general, Chicago had an extremely successful Broadway revival in 1996 that is still running to this day. From there, it was made into a movie in 2002. The Broadway productions regularly star big names — the original boasted Gwen Verdon as Roxie, Chita Rivera as Velma and Jerry Orbach as Billy Flynn; the revival starred Bebe Neuwirth as Velma (earning her her second Tony after winning one for another Fosse production Sweet Charity) and Joel Grey as Amos, and since then has had tons of Stunt Casting.Based on the 1924 nonmusical play Chicago by Maurine Dallas Watkins, which was in turn based on actual murder cases. It was adapted twice for the screen, first as a silent film in 1927, then in 1941 starring Ginger Rogers as Roxie Hart. Modern productions tend to go under the title Play Ball, the play's original subtitle, to avoid confusion with the musical. | |
| Chicago (Theatre) | fetched |
2023-06-24T12:45:11Z | |
| Chicago (Theatre) | parsed |
2023-06-24T12:45:11Z | |
| Chicago (Theatre) | processingComment |
Dropped link to GenreBlind: Not a Feature - UNKNOWN | |
| Chicago (Theatre) | processingComment |
Dropped link to GoshdarnItToHeck: Not a Feature - UNKNOWN | |
| Chicago (Theatre) | processingUnknown |
GenreBlind | |
| Chicago (Theatre) | processingUnknown |
GoshdarnItToHeck | |
| Chicago (Theatre) | isPartOf |
DBTropes | |
| Chicago (Theatre) / int_105a2508 | type |
Does Not Speak Common | |
| Chicago (Theatre) / int_105a2508 | comment |
Does Not Speak Common: Hunyak doesn't speak English, apart from the statement of "not guilty" and occasional mention of "Uncle Sam". Mama can interpret for her lawyer, but the lawyer is too apathetic to put up a good case, leaving Hunyak completely unable to speak on her own behalf. Her storyline — being completely innocent, confused as to why she finds herself among the Six Merry Murderesses, and confident that she will receive justice under the American system — is relegated to a Bilingual Bonus, as it's expressed entirely in Hungarian. | |
| Chicago (Theatre) / int_105a2508 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_105a2508 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_105a2508 | |
| Chicago (Theatre) / int_1257a2d1 | type |
15 Minutes of Fame | |
| Chicago (Theatre) / int_1257a2d1 | comment |
15 Minutes of Fame: Velma's own fame from her murder trial is usurped by Roxie's. Roxie has to fake a pregnancy to avoid her own trial being upstaged. And the second her trial is over, Roxie is forgotten for the next big crime. | |
| Chicago (Theatre) / int_1257a2d1 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1257a2d1 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1257a2d1 | |
| Chicago (Theatre) / int_141a6acb | type |
Madness Mantra | |
| Chicago (Theatre) / int_141a6acb | comment |
Madness Mantra: The refrain of "Cell Block Tango" — "Pop, six, squish, uh-uh, Cicero, Lipschitz..." | |
| Chicago (Theatre) / int_141a6acb | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_141a6acb | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_141a6acb | |
| Chicago (Theatre) / int_1645005b | type |
Evil Versus Evil | |
| Chicago (Theatre) / int_1645005b | comment |
Evil Versus Evil: The rivalry between Roxie and Velma. | |
| Chicago (Theatre) / int_1645005b | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1645005b | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1645005b | |
| Chicago (Theatre) / int_1869b4b1 | type |
Unreliable Narrator | |
| Chicago (Theatre) / int_1869b4b1 | comment |
Unreliable Narrator: The cellmates in "Cell Block Tango" are jaundiced accounts, at best. | |
| Chicago (Theatre) / int_1869b4b1 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1869b4b1 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1869b4b1 | |
| Chicago (Theatre) / int_1ccad9a3 | type |
Villain Song | |
| Chicago (Theatre) / int_1ccad9a3 | comment |
Villain Song: Considering how nearly everyone in the cast (aside from Amos and Mary) can be deemed a villain, there’s plenty to go around. Velma and the murdresses get the first one in "Cell Block Tango", explaining why they killed their victims. Roxie has hers in the self-titled "Roxie", where she explains how her desire for attention and fame is what drives her. Billy explains his Amoral Attorney attitude with such blatant dishonesty that it wraps around to honesty again in "All I Care About is Love". Mama Morton describes her corrupt ways and possible lesbian affairs with her prisoners during "When You're Good To Mama". | |
| Chicago (Theatre) / int_1ccad9a3 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1ccad9a3 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1ccad9a3 | |
| Chicago (Theatre) / int_1d6befa7 | type |
Revenge Ballad | |
| Chicago (Theatre) / int_1d6befa7 | comment |
Revenge Ballad: "Cell Block Tango" is the combined Revenge Ballad for the "Six Merry Murderesses of the Cook County Jail", who all (but one) murdered their husbands or lovers and explain how and why here. | |
| Chicago (Theatre) / int_1d6befa7 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1d6befa7 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1d6befa7 | |
| Chicago (Theatre) / int_1eb49c19 | type |
Stripperiffic | |
| Chicago (Theatre) / int_1eb49c19 | comment |
Stripperiffic: Both genders and everyone (except for Amos and Mama Morton) is like this. Even Billy Flynn gets his share — one of his numbers is a striptease. | |
| Chicago (Theatre) / int_1eb49c19 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_1eb49c19 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_1eb49c19 | |
| Chicago (Theatre) / int_21d70919 | type |
Crapsack World | |
| Chicago (Theatre) / int_21d70919 | comment |
Crapsack World: Chicago is a corrupt place where murderers become celebrities, the one innocent prison inmate is the only one to be hanged, and the most powerful lawyer in town can easily get criminals acquitted. | |
| Chicago (Theatre) / int_21d70919 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_21d70919 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_21d70919 | |
| Chicago (Theatre) / int_222dc873 | type |
Black Comedy | |
| Chicago (Theatre) / int_222dc873 | comment |
Black Comedy: Throughout. For example, presenting Katalin Hunyak with the famous Hungarian Rope Trick!, or the stories of the murderesses in "Cell Block Tango". | |
| Chicago (Theatre) / int_222dc873 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_222dc873 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_222dc873 | |
| Chicago (Theatre) / int_237569e4 | type |
Ironic Hell | |
| Chicago (Theatre) / int_237569e4 | comment |
Ironic Hell: In the end, it's implied while Roxie and Velma despise each other, they depend on each other to be rich and famous. | |
| Chicago (Theatre) / int_237569e4 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_237569e4 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_237569e4 | |
| Chicago (Theatre) / int_24321e44 | type |
Only Sane Man | |
| Chicago (Theatre) / int_24321e44 | comment |
Only Sane Man: On Murderess Row, only the matron has all of her marbles together as Velma and Roxie bicker and the other inmates smoke and drink. Mama has to remind June that her husband is dead, since June murdered him. June gets a relieved expression when she remembers (particularly since, if she was telling the truth, he was abusive). | |
| Chicago (Theatre) / int_24321e44 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_24321e44 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_24321e44 | |
| Chicago (Theatre) / int_26ac510e | type |
Mythology Gag | |
| Chicago (Theatre) / int_26ac510e | comment |
Mythology Gag: Velma makes her entrance in the 1996 revival in the exact same way as the snake did in The Little Prince. She really is a snake in the grass! | |
| Chicago (Theatre) / int_26ac510e | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_26ac510e | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_26ac510e | |
| Chicago (Theatre) / int_294ed981 | type |
Bilingual Bonus | |
| Chicago (Theatre) / int_294ed981 | comment |
Bilingual Bonus: The Hungarian is left untranslated. For those wondering, Hunyak's monologue in "Cell Block Tango" translates to, "What am I doing here? They say my famous lover held down my husband and I chopped his head off. But it's not true. I am innocent. I don't know why Uncle Sam says I did it. I tried to explain at the police station but they didn't understand." | |
| Chicago (Theatre) / int_294ed981 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_294ed981 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_294ed981 | |
| Chicago (Theatre) / int_2d409194 | type |
Unsettling Gender-Reveal | |
| Chicago (Theatre) / int_2d409194 | comment |
Unsettling Gender-Reveal: Mary Sunshine is really a man. "Things are not always what they appear to be." | |
| Chicago (Theatre) / int_2d409194 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_2d409194 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_2d409194 | |
| Chicago (Theatre) / int_2d4a6d8c | type |
Sophisticated as Hell | |
| Chicago (Theatre) / int_2d4a6d8c | comment |
Sophisticated as Hell: "Class", in which Velma Kelly and Mama Morton lament the decline of modern morals, is this trope from start to finish. | |
| Chicago (Theatre) / int_2d4a6d8c | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_2d4a6d8c | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_2d4a6d8c | |
| Chicago (Theatre) / int_2e8441c9 | type |
The Bad Guy Wins | |
| Chicago (Theatre) / int_2e8441c9 | comment |
The Bad Guy Wins: Billy Flynn gets both Roxie and Velma acquitted in the end. | |
| Chicago (Theatre) / int_2e8441c9 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_2e8441c9 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_2e8441c9 | |
| Chicago (Theatre) / int_319e4a2f | type |
Even Evil Has Standards | |
| Chicago (Theatre) / int_319e4a2f | comment |
Even Evil Has Standards: Mama is fine with the murderesses bribing her to get their alcohol and hair products, but an innocent woman who can't speak English needs her help, without money. Mama helps. | |
| Chicago (Theatre) / int_319e4a2f | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_319e4a2f | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_319e4a2f | |
| Chicago (Theatre) / int_31df118 | type |
Attention Whore | |
| Chicago (Theatre) / int_31df118 | comment |
Attention Whore: Roxie | |
| Chicago (Theatre) / int_31df118 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_31df118 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_31df118 | |
| Chicago (Theatre) / int_32a1f455 | type |
Alliterative Family | |
| Chicago (Theatre) / int_32a1f455 | comment |
Alliterative Family: Velma Kelly and her sister Veronica, though it's suggested those are just stage names. | |
| Chicago (Theatre) / int_32a1f455 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_32a1f455 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_32a1f455 | |
| Chicago (Theatre) / int_372bc105 | type |
Sliding Scale of Idealism Versus Cynicism | |
| Chicago (Theatre) / int_372bc105 | comment |
Sliding Scale of Idealism Versus Cynicism: The Musical wasn't a great success when it first came out because it was considered too cynical. The revival is currently running (it's been about 15 years), and it is one of the longest-running shows in Broadway history. | |
| Chicago (Theatre) / int_372bc105 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_372bc105 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_372bc105 | |
| Chicago (Theatre) / int_3850d8f8 | type |
Sensitive Artist | |
| Chicago (Theatre) / int_3850d8f8 | comment |
Sensitive Artist: Al Lipschitz is described as "a real artistic guy, sensitive, a painter." His attempts to get in touch with his inner self led to him having several affairs (including at least one homosexual one), and eventually being murdered by his wife. | |
| Chicago (Theatre) / int_3850d8f8 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_3850d8f8 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3850d8f8 | |
| Chicago (Theatre) / int_3bc27275 | type |
Bubblegum Popping | |
| Chicago (Theatre) / int_3bc27275 | comment |
Bubblegum Popping: Liz killed her boyfriend Bernie for doing this. | |
| Chicago (Theatre) / int_3bc27275 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_3bc27275 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3bc27275 | |
| Chicago (Theatre) / int_3bc92960 | type |
Flag Drop | |
| Chicago (Theatre) / int_3bc92960 | comment |
Flag Drop: Billy brings on Uncle Sam to drape an American flag behind Roxie during his Chewbacca Defense closing argument. In this case, the use is deeply ironic, contrasting American values of honesty and righteousness against the dishonesty and manipulation of the public that Billy utilizes. | |
| Chicago (Theatre) / int_3bc92960 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_3bc92960 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3bc92960 | |
| Chicago (Theatre) / int_3c0a4666 | type |
Noodle Incident | |
| Chicago (Theatre) / int_3c0a4666 | comment |
Noodle Incident: "I Can't Do It Alone" is an in-universe Aversion. Velma is trying to convince Roxie that the Kelly Sisters' Double Act is too fantastic a chance to pass up on, so she demonstrates it for Roxie — but it just looks silly with one person. It gets especially funny if you listen to the Revival cast soundtrack, as you only gets hints such as "See? I kick really high!" and an enthusiastic "SIDEWAYS!" | |
| Chicago (Theatre) / int_3c0a4666 | featureApplicability |
-1.0 | |
| Chicago (Theatre) / int_3c0a4666 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3c0a4666 | |
| Chicago (Theatre) / int_3d4d3dc9 | type |
Humans Are Bastards | |
| Chicago (Theatre) / int_3d4d3dc9 | comment |
Humans Are Bastards: The opening line makes this trope perfectly clear. | |
| Chicago (Theatre) / int_3d4d3dc9 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_3d4d3dc9 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3d4d3dc9 | |
| Chicago (Theatre) / int_3ed17fe0 | type |
Wide-Eyed Idealist | |
| Chicago (Theatre) / int_3ed17fe0 | comment |
Wide-Eyed Idealist: If what Mama Morton says about her is true, Hunyak is this. It doesn't end well for her. Mary Sunshine is the only character in a position of power who wields her influence for altruistic, if naive, purposes. She spins criminal's stories to portray them in a positive light because she believes there's a bit of good in everyone. This makes her Billy's most reliable (and unknowing) pawn in getting Roxie acquitted. | |
| Chicago (Theatre) / int_3ed17fe0 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_3ed17fe0 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_3ed17fe0 | |
| Chicago (Theatre) / int_40bb59d0 | type |
Blatant Lies | |
| Chicago (Theatre) / int_40bb59d0 | comment |
"All I Care About Is Love" for Billy. Played with in that most— if not all— of what he professes about himself in it is Blatant Lies. | |
| Chicago (Theatre) / int_40bb59d0 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_40bb59d0 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_40bb59d0 | |
| Chicago (Theatre) / int_43273c71 | type |
LongRunner | |
| Chicago (Theatre) / int_43273c71 | comment |
Long Runner: The revival opened on Broadway in 1996 and is still going. It's the longest running revival in Broadway history and with the April 2023 closing of The Phantom of the Opera, is currently Broadway's longest running show overall. | |
| Chicago (Theatre) / int_43273c71 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_43273c71 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_43273c71 | |
| Chicago (Theatre) / int_47fea76b | type |
Butt-Monkey | |
| Chicago (Theatre) / int_47fea76b | comment |
Butt-Monkey: Poor Amos... he even has a song, "Mr. Cellophane", about it. | |
| Chicago (Theatre) / int_47fea76b | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_47fea76b | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_47fea76b | |
| Chicago (Theatre) / int_4a4d6f7c | type |
Comedic Sociopathy | |
| Chicago (Theatre) / int_4a4d6f7c | comment |
Comedic Sociopathy: The play's humor. | |
| Chicago (Theatre) / int_4a4d6f7c | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_4a4d6f7c | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_4a4d6f7c | |
| Chicago (Theatre) / int_4ae690ca | type |
Laughing Mad | |
| Chicago (Theatre) / int_4ae690ca | comment |
Laughing Mad: Jeremy Jordan's take on June in the Miscast performance. | |
| Chicago (Theatre) / int_4ae690ca | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_4ae690ca | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_4ae690ca | |
| Chicago (Theatre) / int_4cbc7f61 | type |
Misophonia Gag | |
| Chicago (Theatre) / int_4cbc7f61 | comment |
Misophonia Gag: During "Cell Block Tango", Liz recounts killing her husband Bernie because he wouldn't stop popping his gum. | |
| Chicago (Theatre) / int_4cbc7f61 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_4cbc7f61 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_4cbc7f61 | |
| Chicago (Theatre) / int_4e3d253b | type |
Downer Ending | |
| Chicago (Theatre) / int_4e3d253b | comment |
Downer Ending: In the original musical, no one in the audience gets what they want. Anyone supporting Roxie or Velma will be disappointed that they stay small-time. Anyone wanting them sent down, will be sad they got off. Amos is still left with nothing, and the only person who was innocent is the one who dies. The two most unsympathetic characters, Mama and Billy, get away scot free. | |
| Chicago (Theatre) / int_4e3d253b | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_4e3d253b | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_4e3d253b | |
| Chicago (Theatre) / int_4f362a27 | type |
Implied Rape | |
| Chicago (Theatre) / int_4f362a27 | comment |
Implied Rape: During "Funny Honey," Amos tells the cop that he suspects Roxie could have been "violated or something" by the supposed burglar, emphasizing, "You know what I mean? Violated?" (Unbeknowst to him, the "burglar" was actually Roxie's consensual lover, and they did have sex before Roxie killed him.) | |
| Chicago (Theatre) / int_4f362a27 | featureApplicability |
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| Chicago (Theatre) / int_4f362a27 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_4f362a27 | |
| Chicago (Theatre) / int_50b05d30 | type |
Disproportionate Retribution | |
| Chicago (Theatre) / int_50b05d30 | comment |
Disproportionate Retribution: "So I took the shotgun off the wall and I fired two warning shots... into his head." For popping bubblegum. | |
| Chicago (Theatre) / int_50b05d30 | featureApplicability |
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| Chicago (Theatre) / int_50b05d30 | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_50b05d30 | |
| Chicago (Theatre) / int_59907e4f | type |
Police Are Useless | |
| Chicago (Theatre) / int_59907e4f | comment |
Police Are Useless: Subverted at the beginning of the play. The police interrogate Amos about what happened, while checking Fred Casely's wallet to identify him. Then when Amos reveals that it was Roxie who shot Fred Casely and lied to Amos, they immediately take Roxie into custody. Played straight for the rest of the show, since the police are up against Billy when testifying against Roxie. | |
| Chicago (Theatre) / int_59907e4f | featureApplicability |
-0.3 | |
| Chicago (Theatre) / int_59907e4f | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_59907e4f | |
| Chicago (Theatre) / int_5a40d6a | type |
Adaptation Distillation | |
| Chicago (Theatre) / int_5a40d6a | comment |
Adaptation Distillation: In Roxie Hart, Amos did in fact shoot Fred Casely, but Roxie took the blame instead hoping to become famous. Billy Flynn was the prosecutor, while Roxie ended up falling in love with the public defender. Regardless, it was still a satire of how the media influences the law. | |
| Chicago (Theatre) / int_5a40d6a | featureApplicability |
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| Chicago (Theatre) / int_5a40d6a | featureConfidence |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_5a40d6a | |
| Chicago (Theatre) / int_5ca80293 | type |
Pragmatic Villainy | |
| Chicago (Theatre) / int_5ca80293 | comment |
Pragmatic Villainy: Matron Mama Morton smuggles luxury goods like hair products and cigarettes into the prison. Why? The women there pay her to do it. She's making a fortune, ethics be damned. Similarly, Billy Flynn is also only in the game for cash—he'll play any angle, go to any length, and take any risk if it means a bigger payday for himself. | |
| Chicago (Theatre) / int_5ca80293 | featureApplicability |
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| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_5ca80293 | |
| Chicago (Theatre) / int_6596a89 | type |
A Family Affair | |
| Chicago (Theatre) / int_6596a89 | comment |
A Family Affair: Velma killed her husband and twin sister in a blind fury when catching them having sex after leaving for just a few minutes. | |
| Chicago (Theatre) / int_6596a89 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6596a89 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6596a89 | |
| Chicago (Theatre) / int_6836fbcb | type |
All Musicals Are Adaptations | |
| Chicago (Theatre) / int_6836fbcb | comment |
All Musicals Are Adaptations: Based on the 1926 play of the same name by Maurine Dallas Watkins. | |
| Chicago (Theatre) / int_6836fbcb | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6836fbcb | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6836fbcb | |
| Chicago (Theatre) / int_6ae4dedd | type |
The Unfair Sex | |
| Chicago (Theatre) / int_6ae4dedd | comment |
The Unfair Sex: Played both ways, but with tongue firmly in cheek. | |
| Chicago (Theatre) / int_6ae4dedd | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6ae4dedd | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6ae4dedd | |
| Chicago (Theatre) / int_6b05b601 | type |
Jerkass Has a Point | |
| Chicago (Theatre) / int_6b05b601 | comment |
Jerkass Has a Point: While Billy is definitely a villain who doesn't care if his clients are innocent or guilty, he tells Roxie that she can't sail on her fame when there's a real chance she can get convicted so she should play by his rules. | |
| Chicago (Theatre) / int_6b05b601 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6b05b601 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6b05b601 | |
| Chicago (Theatre) / int_6b2b3b59 | type |
The Reveal | |
| Chicago (Theatre) / int_6b2b3b59 | comment |
The Reveal: Mary Sunshine is revealed to be a guy in drag, which is why the credits will list the actor with only their first initial, such as D. Sabella. | |
| Chicago (Theatre) / int_6b2b3b59 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6b2b3b59 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6b2b3b59 | |
| Chicago (Theatre) / int_6bda9a30 | type |
Meaningful Name | |
| Chicago (Theatre) / int_6bda9a30 | comment |
Meaningful Name: The only two innocent characters in the musical have names that imply that they are fools: Hunyak, the only wrongly convicted prisoner, and the only one to be executed. "Honyock" is an ethnic slur that was popular in America from the 1880s through the 1950s. It is derived from a Hungarian word meaning (among other things) "simple-minded" and "loser." Mostly directed at Central-Eastern Europeans. Her real name, Katalin, means "pure". Amos, who keeps having to remind Billy his name isn't "Andy". This is a reference to Amos 'n' Andy, a race comedy radio series originating from Chicago radio station WMAQ beginning in 1928. Most of the series' male characters were performed by two white comedians who had worked in minstrel shows on vaudeville. In the series, Amos was a schemer and Andy was innocent and a bit simpleminded. (This is a happy accident as the name Amos is a carryover from the original play and movie which both predated Amos 'n' Andy.) | |
| Chicago (Theatre) / int_6bda9a30 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6bda9a30 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6bda9a30 | |
| Chicago (Theatre) / int_6ca72c26 | type |
All Take and No Give | |
| Chicago (Theatre) / int_6ca72c26 | comment |
All Take and No Give: Amos and Roxie's marriage, with Amos as the Giver and Roxie as the Taker. | |
| Chicago (Theatre) / int_6ca72c26 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6ca72c26 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6ca72c26 | |
| Chicago (Theatre) / int_6fb5cb83 | type |
I Gave My Word | |
| Chicago (Theatre) / int_6fb5cb83 | comment |
I Gave My Word: Billy promises that anyone who pays him five thousand dollars will get his full services. Even though Amos only comes up with two thousand dollars, Billy takes Roxie's case on the pretense of being a "straight man". (It's actually because he thinks Roxie's reputation will earn the rest of the money.) All of his clients in the play get off the hook. | |
| Chicago (Theatre) / int_6fb5cb83 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_6fb5cb83 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_6fb5cb83 | |
| Chicago (Theatre) / int_78e8eba5 | type |
"I Am" Song | |
| Chicago (Theatre) / int_78e8eba5 | comment |
"I Am" Song: "When You're Good To Mama" for Mama. "All I Care About Is Love" for Billy. Played with in that most— if not all— of what he professes about himself in it is Blatant Lies. "Mr. Cellophane" for Amos. To a lesser extent, "Roxie" for Roxie and "All That Jazz" for Velma | |
| Chicago (Theatre) / int_78e8eba5 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_78e8eba5 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_78e8eba5 | |
| Chicago (Theatre) / int_7a14cdba | type |
Chewbacca Defense | |
| Chicago (Theatre) / int_7a14cdba | comment |
Chewbacca Defense: "Razzle Dazzle" is this trope in song form. | |
| Chicago (Theatre) / int_7a14cdba | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_7a14cdba | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_7a14cdba | |
| Chicago (Theatre) / int_813f4eec | type |
Humble Pie | |
| Chicago (Theatre) / int_813f4eec | comment |
Humble Pie: Roxie is acquitted, but moments later, a new heinous crime is committed and all the reporters rush out of the courtroom, leaving her all alone and without the fame and adoration she had been seeking. | |
| Chicago (Theatre) / int_813f4eec | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_813f4eec | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_813f4eec | |
| Chicago (Theatre) / int_8338de89 | type |
"I Want" Song | |
| Chicago (Theatre) / int_8338de89 | comment |
"I Want" Song: "Roxie" is about how Roxie wants to become a celebrity. | |
| Chicago (Theatre) / int_8338de89 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_8338de89 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_8338de89 | |
| Chicago (Theatre) / int_868409c | type |
Broken Pedestal | |
| Chicago (Theatre) / int_868409c | comment |
Broken Pedestal: Roxie starts out the play admiring Velma. Velma ruins this for her by talking about how Roxie will be lucky to get life in prison. | |
| Chicago (Theatre) / int_868409c | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_868409c | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_868409c | |
| Chicago (Theatre) / int_898ff050 | type |
Villain Protagonist | |
| Chicago (Theatre) / int_898ff050 | comment |
Villain Protagonist: Roxie is well-known to the audience to be guilty of murder and is generally a poor example of a human being. | |
| Chicago (Theatre) / int_898ff050 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_898ff050 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_898ff050 | |
| Chicago (Theatre) / int_8d0785d5 | type |
Didn't Think This Through | |
| Chicago (Theatre) / int_8d0785d5 | comment |
Didn't Think This Through: Kitty's lover/husband Harry has a threesome with two women in Kitty's apartment, as opposed to getting a hotel room for the night. Not only that, but they're still there when Kitty gets home and apparently were just so worn out from all the fun that they dozed off, right up until Kitty woke them up to murder them. And finally, while he's understandably panicked, Harry (apparently) chooses the most patronizing way imaginable to try and calm Kitty down. | |
| Chicago (Theatre) / int_8d0785d5 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_8d0785d5 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_8d0785d5 | |
| Chicago (Theatre) / int_8ed5c6e4 | type |
Asshole Victim | |
| Chicago (Theatre) / int_8ed5c6e4 | comment |
Asshole Victim: Invoked; in "Cell Block Tango" the first proper lyric is "He had it comin'!" although at least some of them are extreme cases of Disproportionate Retribution, and, of course, Hunyak is completely innocent, but the language barrier prevents anyone from knowing this. | |
| Chicago (Theatre) / int_8ed5c6e4 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_8ed5c6e4 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_8ed5c6e4 | |
| Chicago (Theatre) / int_8f612013 | type |
Token Good Teammate | |
| Chicago (Theatre) / int_8f612013 | comment |
Token Good Teammate: To the extent that a group of people who do a co-ordinated song-and-dance number like "Cell Block Tango" protesting their innocence can be considered a team, Hunyak is the token genuine innocent. | |
| Chicago (Theatre) / int_8f612013 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_8f612013 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_8f612013 | |
| Chicago (Theatre) / int_92d6af50 | type |
Truck Driver's Gear Change | |
| Chicago (Theatre) / int_92d6af50 | comment |
Truck Driver's Gear Change: "Cell Block Tango" starts in F minor, goes up a semitone before the second repetition of the chorus, then reverts temporarily to its original key on the fifth repetition that follows Velma's solo, then goes up a half-step in the sixth repetition, then a half step for the finale. | |
| Chicago (Theatre) / int_92d6af50 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_92d6af50 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_92d6af50 | |
| Chicago (Theatre) / int_93b92ca4 | type |
Lousy Lovers Are Losers | |
| Chicago (Theatre) / int_93b92ca4 | comment |
Lousy Lovers Are Losers: Despite being one of the few nice people in the story, Amos Hart is a Butt-Monkey who is consistently portrayed as a terrible lover to his wife Roxie, due to his Extreme Doormat personality. This also leads to him being an Emasculated Cuckold since she's often cheating on him. | |
| Chicago (Theatre) / int_93b92ca4 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_93b92ca4 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_93b92ca4 | |
| Chicago (Theatre) / int_98d3f973 | type |
Mama's Baby, Papa's Maybe | |
| Chicago (Theatre) / int_98d3f973 | comment |
Mama's Baby, Papa's Maybe: Played with. Roxie pretends to be pregnant to gain the press and jury's sympathy. Her husband Amos is excited until it turns out that he couldn't possibly be the father of the child and gets very upset about Roxie being pregnant with another man's baby. | |
| Chicago (Theatre) / int_98d3f973 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_98d3f973 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_98d3f973 | |
| Chicago (Theatre) / int_9ed6761e | type |
Death by Woman Scorned | |
| Chicago (Theatre) / int_9ed6761e | comment |
Death by Woman Scorned: A recurring theme in "Cell Block Tango" — Velma killed her husband and his lover (her own sister), Annie poisoned her boyfriend after finding out he was already married to six other women (one of those Mormons, you know), and Mona killed her boyfriend after finding out he had three other girlfriends and a boyfriend. Later Kitty Baxter kills her boyfriend and the two women she discovered in bed with him. | |
| Chicago (Theatre) / int_9ed6761e | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_9ed6761e | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_9ed6761e | |
| Chicago (Theatre) / int_a1a1491e | type |
Homage | |
| Chicago (Theatre) / int_a1a1491e | comment |
Homage: Ann Reinking's performance in the 1995 revival had her imitating Gwen Verdon's speaking style. | |
| Chicago (Theatre) / int_a1a1491e | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_a1a1491e | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_a1a1491e | |
| Chicago (Theatre) / int_a56e3cba | type |
Language Barrier | |
| Chicago (Theatre) / int_a56e3cba | comment |
Language Barrier: Hunyak, a young Hungarian woman, doesn't speak English. It gets her executed for a murder which she did not commit. | |
| Chicago (Theatre) / int_a56e3cba | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_a56e3cba | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_a56e3cba | |
| Chicago (Theatre) / int_a70223 | type |
Karma Houdini | |
| Chicago (Theatre) / int_a70223 | comment |
Karma Houdini: Velma, Roxie, and Billy Flynn. Meanwhile, inverted in that Hunyak gets executed for a crime she didn't commit. "I Know A Girl" is a song about being a Karma Houdini. | |
| Chicago (Theatre) / int_a70223 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_a70223 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_a70223 | |
| Chicago (Theatre) / int_a757d9a0 | type |
Quirky Girl, Quirky Tux | |
| Chicago (Theatre) / int_a757d9a0 | comment |
Quirky Girl, Quirky Tux: In the original production Velma wears a tux and tights for the "All That Jazz" number. Velma has just murdered her sister (and Velma's husband, for sleeping with Veronica), meaning she's now a star rather than co-star. "Now I'm no one's wife but, how I love my life!" | |
| Chicago (Theatre) / int_a757d9a0 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_a757d9a0 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_a757d9a0 | |
| Chicago (Theatre) / int_b1562440 | type |
Sinister Tango Music | |
| Chicago (Theatre) / int_b1562440 | comment |
Sinister Tango Music: "The Cellblock Tango" is a Villain Song sung by the female prisoners about their motives for committing murder. | |
| Chicago (Theatre) / int_b1562440 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b1562440 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b1562440 | |
| Chicago (Theatre) / int_b53077b3 | type |
Take That! | |
| Chicago (Theatre) / int_b53077b3 | comment |
Take That!: Mary Sunshine is an unflattering take on Maurine Dallas Watkins, who wrote the original non-musical Chicago based on crimes she had reported on. Oddly enough, the Mary Sunshine character and her flighty personality is lifted from the original Chicago (though the drag queen element is added for the musical), so it seems the character was originally Self-Deprecation. Alternately, Mary Sunshine from the original play was a parody of the "sob sisters" that provided extremely sympathetic portrayals of the murderers for Hearst-owned papers. Maurine Dallas Watkins, known for her scathing statements about the murderers and dislike of the media circus surrounding them, provided an alternate to the "sob sisters." It is speculated that later in life she began to feel she was just as guilty in the acquittals as they were. In the end, the whole "we couldn't have done it without you" bit is this. | |
| Chicago (Theatre) / int_b53077b3 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b53077b3 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b53077b3 | |
| Chicago (Theatre) / int_b5b3599d | type |
Amoral Attorney | |
| Chicago (Theatre) / int_b5b3599d | comment |
Billy explains his Amoral Attorney attitude with such blatant dishonesty that it wraps around to honesty again in "All I Care About is Love". | |
| Chicago (Theatre) / int_b5b3599d | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b5b3599d | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b5b3599d | |
| Chicago (Theatre) / int_b707726f | type |
Hypocritical Humor | |
| Chicago (Theatre) / int_b707726f | comment |
Hypocritical Humor: "Class," in which Mama and Velma lament the lack of manners, dignity, and overall class... while simultaneously swearing like sailors. ("Holy shit!" "Holy shit!" "Jesus Christ!" "Every girl is a twat!") | |
| Chicago (Theatre) / int_b707726f | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b707726f | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b707726f | |
| Chicago (Theatre) / int_b7bc7d28 | type |
Attention Deficit... Ooh, Shiny! | |
| Chicago (Theatre) / int_b7bc7d28 | comment |
Attention Deficit... Ooh, Shiny!: The public. Roxie gets off, but another scandal wrecks her attempt at fame. (That is, until she does a scandalous double act with Velma.) | |
| Chicago (Theatre) / int_b7bc7d28 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b7bc7d28 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b7bc7d28 | |
| Chicago (Theatre) / int_b9e87cf3 | type |
Knitting Pregnancy Announcement | |
| Chicago (Theatre) / int_b9e87cf3 | comment |
Knitting Pregnancy Announcement: Roxie allows herself to be seen knitting baby clothes as part of her fake pregnancy sympathy ploy. | |
| Chicago (Theatre) / int_b9e87cf3 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_b9e87cf3 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_b9e87cf3 | |
| Chicago (Theatre) / int_bb0c0a4d | type |
Fiery Redhead | |
| Chicago (Theatre) / int_bb0c0a4d | comment |
Fiery Redhead: Roxie, officially. In practice (especially due to Stunt Casting), the line referring to her as a "cute redheaded chorine" is updated to match the hair color of the actress at that performance. | |
| Chicago (Theatre) / int_bb0c0a4d | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_bb0c0a4d | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_bb0c0a4d | |
| Chicago (Theatre) / int_bb18a227 | type |
It's All About Me | |
| Chicago (Theatre) / int_bb18a227 | comment |
It's All About Me: Roxie is very self-centered. Velma, too, to a less obtrusive extent. | |
| Chicago (Theatre) / int_bb18a227 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_bb18a227 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_bb18a227 | |
| Chicago (Theatre) / int_bbc77bb5 | type |
Hard Truth Aesop | |
| Chicago (Theatre) / int_bbc77bb5 | comment |
Hard Truth Aesop: If you have enough money and influence with the public, you can literally get away with murder. It doesn't help that Roxie and Velma were based on two real women that used a powerful lawyer and public opinion to reach for their acquittals. | |
| Chicago (Theatre) / int_bbc77bb5 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_bbc77bb5 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_bbc77bb5 | |
| Chicago (Theatre) / int_bc74ef27 | type |
Berserk Button | |
| Chicago (Theatre) / int_bc74ef27 | comment |
Berserk Button: Apparent with some of the other women in "Cell Block Tango", especially with the woman who killed her husband for popping bubblegum too loudly. | |
| Chicago (Theatre) / int_bc74ef27 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_bc74ef27 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_bc74ef27 | |
| Chicago (Theatre) / int_be009bbc | type |
Alliterative Name | |
| Chicago (Theatre) / int_be009bbc | comment |
Alliterative Name: "And now, ladies and gentlemen, the Keeper of the Keys, the Countess of the Clink, the Mistress of Murderess' Row, Matron Mama Morton!" | |
| Chicago (Theatre) / int_be009bbc | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_be009bbc | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_be009bbc | |
| Chicago (Theatre) / int_bf74d357 | type |
Ugly Guy, Hot Wife | |
| Chicago (Theatre) / int_bf74d357 | comment |
Ugly Guy, Hot Wife: Amos and Roxie, most of the time. And he knows it too. | |
| Chicago (Theatre) / int_bf74d357 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_bf74d357 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_bf74d357 | |
| Chicago (Theatre) / int_c12ad193 | type |
Fake Pregnancy | |
| Chicago (Theatre) / int_c12ad193 | comment |
Fake Pregnancy: Roxie fakes a pregnancy in order to gain public attention and sympathy leading up to her murder trial. | |
| Chicago (Theatre) / int_c12ad193 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_c12ad193 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_c12ad193 | |
| Chicago (Theatre) / int_c3585f4a | type |
Boom, Headshot! | |
| Chicago (Theatre) / int_c3585f4a | comment |
Boom, Headshot!: One of the other women in the prison is in for shooting her husband in the head with a shotgun. | |
| Chicago (Theatre) / int_c3585f4a | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_c3585f4a | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_c3585f4a | |
| Chicago (Theatre) / int_c3648b87 | type |
Teeth-Clenched Teamwork | |
| Chicago (Theatre) / int_c3648b87 | comment |
Teeth-Clenched Teamwork: The finale with Velma and Roxie. | |
| Chicago (Theatre) / int_c3648b87 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_c3648b87 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_c3648b87 | |
| Chicago (Theatre) / int_c36d8929 | type |
Why Didn't I Think of That? | |
| Chicago (Theatre) / int_c36d8929 | comment |
Why Didn't I Think of That?: Velma's reaction to Roxie's fake pregnancy at the beginning of Act 2. | |
| Chicago (Theatre) / int_c36d8929 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_c36d8929 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_c36d8929 | |
| Chicago (Theatre) / int_c9597a03 | type |
Self-Deprecation | |
| Chicago (Theatre) / int_c9597a03 | comment |
Mary Sunshine is an unflattering take on Maurine Dallas Watkins, who wrote the original non-musical Chicago based on crimes she had reported on. Oddly enough, the Mary Sunshine character and her flighty personality is lifted from the original Chicago (though the drag queen element is added for the musical), so it seems the character was originally Self-Deprecation. | |
| Chicago (Theatre) / int_c9597a03 | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_c9597a03 | featureConfidence |
1.0 | |
| Chicago (Theatre) | hasFeature |
Chicago (Theatre) / int_c9597a03 | |
| Chicago (Theatre) / int_d001c42c | type |
Anti-Villain | |
| Chicago (Theatre) / int_d001c42c | comment |
Anti-Villain: June, maybe. Whether or not she was indeed "screwin' the milkman" (which we have no way of knowing), her husband Wilbur still comes off abusive and threatening toward her in her account, which makes it a little harder to blame her for offing him compared to, say, Liz shooting her boyfriend in the head for popping gum. June is notably relieved later on when Mama Morton reminds her that Wilbur is dead because June killed him, which, Black Comedy or not, does square with the possibility of June as an abused wife who finally snapped — or that she's just an amoral woman who slept with another man and got caught by an understandably upset husband. Unreliable Narrator, remember. | |
| Chicago (Theatre) / int_d001c42c | featureApplicability |
1.0 | |
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1.0 | |
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Chicago (Theatre) / int_d001c42c | |
| Chicago (Theatre) / int_d013cd12 | type |
Lovable Rogue | |
| Chicago (Theatre) / int_d013cd12 | comment |
Lovable Rogue: Roxie's a lying, scheming, glory-seeking, Jerkass murderess but still manages to be endearing at several points. Ditto for Velma and Billy. | |
| Chicago (Theatre) / int_d013cd12 | featureApplicability |
1.0 | |
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1.0 | |
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Chicago (Theatre) / int_d013cd12 | |
| Chicago (Theatre) / int_d076bd7a | type |
Manslaughter Provocation | |
| Chicago (Theatre) / int_d076bd7a | comment |
Manslaughter Provocation: "Cell Block Tango" basically consists of them. How justified you are supposed to consider the cases, and how sincere the murderers are is... debatable. | |
| Chicago (Theatre) / int_d076bd7a | featureApplicability |
1.0 | |
| Chicago (Theatre) / int_d076bd7a | featureConfidence |
1.0 | |
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Chicago (Theatre) / int_d076bd7a | |
| Chicago (Theatre) / int_d1d4cf48 | type |
Cheating with the Milkman | |
| Chicago (Theatre) / int_d1d4cf48 | comment |
Cheating with the Milkman: Mentioned in one of the spoken passages of "Cell Block Tango", though it's ambiguous whether or not the woman in question really was: | |
| Chicago (Theatre) / int_d1d4cf48 | featureApplicability |
1.0 | |
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1.0 | |
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Chicago (Theatre) / int_d1d4cf48 | |
| Chicago (Theatre) / int_d34cbda2 | type |
Implausible Deniability | |
| Chicago (Theatre) / int_d34cbda2 | comment |
Implausible Deniability: June's solo in "Cell Block Tango": Velma's solo in the song is the same: The denial is made by a cheating boyfriend while he's still in bed with two other women: "Who you gonna believe, your own eyes or me?" | |
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1.0 | |
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Chicago (Theatre) / int_d34cbda2 | |
| Chicago (Theatre) / int_d3f33049 | type |
Blasphemous Boast | |
| Chicago (Theatre) / int_d3f33049 | comment |
Blasphemous Boast: | |
| Chicago (Theatre) / int_d3f33049 | featureApplicability |
1.0 | |
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Chicago (Theatre) / int_d3f33049 | |
| Chicago (Theatre) / int_d45812ba | type |
Fake Faint | |
| Chicago (Theatre) / int_d45812ba | comment |
Fake Faint: In "When Velma Takes the Stand", Velma and Billy rehearse what she'll do to gain the jury's sympathy when she's called to testify at her trial, which includes pretending to faint. | |
| Chicago (Theatre) / int_d45812ba | featureApplicability |
1.0 | |
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1.0 | |
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Chicago (Theatre) / int_d45812ba | |
| Chicago (Theatre) / int_d45c0b86 | type |
Refuge in Audacity | |
| Chicago (Theatre) / int_d45c0b86 | comment |
Refuge in Audacity: "Razzle Dazzle" is practically a hymn to getting away with murder through liberal use of outrageous stunts. | |
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1.0 | |
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1.0 | |
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Chicago (Theatre) / int_d45c0b86 | |
| Chicago (Theatre) / int_d73ecb18 | type |
Gun Struggle | |
| Chicago (Theatre) / int_d73ecb18 | comment |
Gun Struggle: The entire plot involves Roxie Hart and her Smug Snake lawyer Billy Flynn trying to convince the jury that Roxy's shooting of her lover Fred Casley was this rather than murder. There is even a brief scene where such a struggle is recreated in court. | |
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1.0 | |
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Chicago (Theatre) / int_d73ecb18 | |
| Chicago (Theatre) / int_ddeaea82 | type |
Miscarriage of Justice | |
| Chicago (Theatre) / int_ddeaea82 | comment |
Miscarriage of Justice: The only innocent inmate is not only convicted, but executed, all because no one can understand her. | |
| Chicago (Theatre) / int_ddeaea82 | featureApplicability |
1.0 | |
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Chicago (Theatre) / int_ddeaea82 | |
| Chicago (Theatre) / int_e34400ab | type |
Ambiguously Gay | |
| Chicago (Theatre) / int_e34400ab | comment |
Ambiguously Gay: Matron Mama Morton. Billy Flynn. Despite introducing himself as a romantic ladies' man, it's worth noting that everything else in the song is a lie, he never actually touches his showgirl chorus or alludes to any interest in women outside of said song, and is contemptuously amused when Roxie offers to sleep with him to lower her legal fees, telling her she's barking up the wrong tree. Not all productions play this up, but it's standard in the replica version based on the 1996 Broadway revival (ie, most professional productions since then). | |
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1.0 | |
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Chicago (Theatre) / int_e34400ab | |
| Chicago (Theatre) / int_e3b0cd87 | type |
Morality Pet | |
| Chicago (Theatre) / int_e3b0cd87 | comment |
Morality Pet: Hunyak is the only inmate that Mama helps without bribes. It's implied that Mama knows that Hunyak is innocent, and she knows that everyone else in Murderess Row is guilty. | |
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1.0 | |
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Chicago (Theatre) / int_e3b0cd87 | |
| Chicago (Theatre) / int_e4b69188 | type |
Very Loosely Based on a True Story | |
| Chicago (Theatre) / int_e4b69188 | comment |
Very Loosely Based on a True Story: Of Beulah Annan. | |
| Chicago (Theatre) / int_e4b69188 | featureApplicability |
1.0 | |
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Chicago (Theatre) / int_e4b69188 | |
| Chicago (Theatre) / int_eba6a077 | type |
Cain and Abel | |
| Chicago (Theatre) / int_eba6a077 | comment |
Cain and Abel: Velma murdered her sister Veronica for sleeping with Velma's husband. Velma claims she entered a state of shock and doesn't remember what happened, but she doesn't seem to be grieving. | |
| Chicago (Theatre) / int_eba6a077 | featureApplicability |
1.0 | |
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Chicago (Theatre) / int_eba6a077 | |
| Chicago (Theatre) / int_edeafb2e | type |
Malicious Misnaming | |
| Chicago (Theatre) / int_edeafb2e | comment |
Amos, who keeps having to remind Billy his name isn't "Andy". This is a reference to Amos 'n' Andy, a race comedy radio series originating from Chicago radio station WMAQ beginning in 1928. Most of the series' male characters were performed by two white comedians who had worked in minstrel shows on vaudeville. In the series, Amos was a schemer and Andy was innocent and a bit simpleminded. (This is a happy accident as the name Amos is a carryover from the original play and movie which both predated Amos 'n' Andy.) | |
| Chicago (Theatre) / int_edeafb2e | featureApplicability |
1.0 | |
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Chicago (Theatre) / int_edeafb2e | |
| Chicago (Theatre) / int_ee9877ea | type |
Too Good for This Sinful Earth | |
| Chicago (Theatre) / int_ee9877ea | comment |
Too Good for This Sinful Earth: Hunyak, who is the only woman in "Cell Block Tango" who did not commit the murder she was accused of, is the only person we see found guilty and executed. | |
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Chicago (Theatre) / int_ee9877ea | |
| Chicago (Theatre) / int_f1c17256 | type |
A Deadly Affair | |
| Chicago (Theatre) / int_f1c17256 | comment |
A Deadly Affair: Three variations. Roxie kills her lover when she finds out he was not going to help her become a singer. Velma kills her sister and husband when she finds them in bed together. This applies to four of the other "Six Merry Murderesses" featured in "Cell Block Tango" as well—one killed her lover after finding out he was already married, another killed her husband when he confronted her about her affair, another killed her lover after his numerous infidelities, and even the unjustly imprisoned woman is accused of conspiring with her lover to kill her husband. A rich heiress kills her husband and the two women he was having a threesome with. | |
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Chicago (Theatre) / int_f1c17256 | |
| Chicago (Theatre) / int_f22f395f | type |
Keep It Foreign | |
| Chicago (Theatre) / int_f22f395f | comment |
Keep It Foreign: In the Hungarian production, the Hunyak was replaced by Cheng Li, a Chinese inmate who spoke untranslated Chinese during "Cell Block Tango". Some high school productions will change Hunyak’s nationality, based on which members of the theatre department are bilingual and what languages they can speak. This is because it’s rare to find teenagers who speak fluent Hungarian outside of Hungary, and learning to pronounce all those lines in an unfamiliar language can be a very daunting task for a schoolkid. | |
| Chicago (Theatre) / int_f22f395f | featureApplicability |
1.0 | |
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1.0 | |
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Chicago (Theatre) / int_f22f395f | |
| Chicago (Theatre) / int_ff7f34c5 | type |
Pet the Dog | |
| Chicago (Theatre) / int_ff7f34c5 | comment |
Pet the Dog: Subverted with Billy Flynn. Though he intended to be Roxie's defense attorney for $5,000 and nothing less, he agrees to help with only $2,000 that Amos managed to scrape together. Supposedly, it is because he admires Amos' loyalty and love to Roxie. However, he's being facetious. Flynn couldn't care less about Amos' loyalty; he smells money in the case and doesn't want to let the possibility go. It doesn't take him long to get the rest of the money by trading on the public's fascination with Roxie. Though it is worth noting that he promises to give Amos 20% of whatever they make over the agreed upon $5,000. Though you could say he's ripping him off that way considering they're selling the property of Amos' wife, he's still cutting him in. Played straight with Mama Morton when she works on behalf of her prisoner the Hunyak, translating for her lawyer and insisting on her innocence. It's not enough to save her, but it's the only time we see Mama doing something without benefits. Depending on the actress playing the role she even shows signs of remorse and affection for Hunyak as she helps prepare her for her execution proving her capable of compassion and humanity. | |
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Chicago (Theatre) |
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