“Chicago” first opened on Broadway in 1975, with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Fosse. Despite its initial success, the original production closed in 1977. However, in 1996, a revival took Broadway by storm, garnering rave reviews and eventually becoming the longest-running American musical in Broadway history.

One of the key elements of “Chicago” is its unique musical style. The Kander and Ebb score perfectly captures the spirit of the Jazz Age, with songs like “All That Jazz,” “Cell Block Tango,” and “Mister Cellophane” showcasing the era’s energy and rhythm. The show’s minimalist set design and striking black-and-white costumes allow the audience to focus on the brilliant performances, sharp wit, and dazzling dance numbers that have made “Chicago” a Broadway classic.

In addition to its theatrical success, “Chicago” was adapted into an Academy Award-winning film in 2002, starring Catherine Zeta-Jones, Renée Zellweger, and Richard Gere. The film further solidified the musical’s place in popular culture, introducing it to a new generation of fans.

In summary, “Chicago” is a timeless Broadway musical that expertly weaves together a gripping story, unforgettable music, and sensational choreography. It is a must-see for any theater lover and a true testament to the enduring power of live performance.

All That Jazz: The Enduring Appeal of Broadway’s ‘Chicago

Since its debut in 1975, the Broadway musical “Chicago” has continued to captivate audiences with its sensational story, unforgettable music, and iconic choreography. Set in the roaring twenties, the show’s exploration of crime, passion, and media manipulation remains as relevant today as it was during its inception. The production’s ability to adapt and evolve over the years has ensured its enduring appeal to theatergoers of all generations.

The powerful combination of John Kander’s music, Fred Ebb’s lyrics, and Bob Fosse’s choreography has made “Chicago” a show unlike any other. The vaudeville-inspired tunes, including hits like “All That Jazz,” “Cell Block Tango,” and “Razzle Dazzle,” evoke the Jazz Age’s wild energy and decadence. Fosse’s signature dance moves, characterized by fluid movements and stylized poses, have become synonymous with the show’s identity.

“Chicago” also boasts a unique visual aesthetic, setting it apart from other Broadway productions. The minimalist set design and striking black-and-white costumes focus the audience’s attention on the remarkable performances and razor-sharp wit of the dialogue. This visual approach also reinforces the themes of moral ambiguity and societal corruption at the heart of the story.

The 1996 Broadway revival breathed new life into “Chicago,” exposing it to a whole new generation of theater lovers. The subsequent 2002 film adaptation further solidified its cultural significance, earning six Academy Awards, including Best Picture. These successes have only served to solidify the musical’s reputation as a timeless Broadway classic.

In conclusion, “Chicago” remains an essential Broadway experience, thanks to its intoxicating blend of music, dance, and storytelling. As the longest-running American musical in Broadway history, it serves as a testament to the power of live theater and the enduring appeal of “All That Jazz.”

Murder, Passion, and Dance: The Unforgettable ‘Chicago’ on Broadway

The Broadway musical “Chicago” has captivated audiences for decades with its tantalizing tale of murder, passion, and dance. Set in the Prohibition-era Windy City, the story delves into the lives of two murderesses, Roxie Hart and Velma Kelly, as they navigate the treacherous world of fame, fortune, and the media spotlight. The combination of a gripping narrative, memorable music, and unforgettable choreography has cemented “Chicago” as an enduring classic in the world of theater.

One of the defining elements of “Chicago” is its unique blend of storytelling and performance. The show masterfully weaves together a narrative that explores themes of crime, betrayal, and the seductive allure of fame. With its vaudeville-inspired style, the musical presents a series of vignettes that showcase the talents of its performers while advancing the plot.

The music by John Kander and lyrics by Fred Ebb perfectly capture the essence of the Jazz Age, infusing the show with a sense of danger and excitement. Songs like “All That Jazz,” “Cell Block Tango,” and “Mister Cellophane” have become iconic in their own right, embodying the spirit of the era and serving as the backbone of the production.

Bob Fosse’s distinct choreography adds another layer of brilliance to “Chicago.” His trademark style, marked by fluid movements, stylized poses, and a sense of raw sensuality, has become synonymous with the show. Fosse’s choreography elevates the storytelling and adds an undeniable visual flair that continues to captivate audiences.

“Chicago” has also enjoyed success beyond the stage, with the 2002 film adaptation earning critical acclaim and introducing the story to a new generation of fans. The movie’s six Academy Awards, including Best Picture, attest to the enduring appeal of this Broadway masterpiece.

In summary, “Chicago” has solidified its place as an unforgettable Broadway experience through its exploration of murder, passion, and dance. As the longest-running American musical in Broadway history, it remains a testament to the power of live theater and the ability of a compelling story to captivate audiences for generations.

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The film was shot in 2019, but because of the coronavirus epidemic, the premiere was postponed until as early as 2021. I was skeptical at first: the 1961 film is beautiful, what can I add to it? It won 11 Oscars, while the 2021 film had only one (for Best Supporting Actress). Finally, the new film, with a $100 million budget, grossed only $74.5 million at the box office…

But I was wrong: the film is certainly worth watching. First of all, it is very bright, the riot of colours at times simply takes your breath away. The dancing is superb and the choreography is great. And I really liked the cast. Maria (Rachel Segler) is so young and touching, she was 18 years old at the time of filming. Tony (Ansel Elgort) is very atypical of ‘Romeo’: he’s very tall and looks like a giant compared to the other characters. But I can’t say that’s a bad thing, just unusual! But the hero – very kind and charming, it is immediately clear why everyone loves him so much. However, my favourite is Mike Feist as Riff, the leader of the Rockettes, who is a bundle of energy! And of course, Ariana Debos as Oscar-winning Anita is insanely good. Interestingly, the film stars Rita Moreno as Valentina, who won an Oscar for the role of Anita in the 1961 film. At the time of filming the actress was 87 (!!) years old, but she does not look her age…

There are, of course, and minuses: some scenes frankly dragged on, some in general could be cut without any damage. According to my observations, this flaw is inherent in Spielberg’s films in general: the director seems so fond of all the footage that he is not willing to sacrifice a single episode. I think that ‘West Side Story’, which lasted 2 hours and 36 minutes, would have made a world of difference if he had cut it down to 2 hours. But the audience who sees the film through to the end will be rewarded: the battle between the Rockets and the Sharks, Anita’s visit to the Rockets, the finale – all these scenes are full of real drama, this is truly high art (my heart even sank!). In my opinion, these scenes are better than in the classic film, they are more vital and less theatrical. And in general, I think that Spielberg’s film is closer to modern viewers than the 1961 adaptation. Which, in general, is not surprising.

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“Hamilton” incorporates the most seemingly incompatible characteristics, which, however, elevated this musical to the skies, making it one of the most famous and box office hits: the combination of historical facts, biography, stunning vocals and lyrics, and most importantly, the use of R’n’B and rap music in all degrees of seriousness, have turned the musical into a completely unique and absolutely innovative work, which has no worthy competitors yet.

Thanks to Disney+, ordinary everyday people (of which I am one) have been given an incredible chance to see “Hamilton” as if they were in a Broadway theater. Such a thing was indeed made real through very lively filming with lots of extra microphones and light sources to make sure the most important details were not missed, creating an incredible effect of presence.

Turning to the dusty pages of United States history, most of us are unlikely to be sufficiently aware of the identity of the person responsible for the celebration, Alexander Hamilton. From what I have seen and somewhat later read, I have taken note that, despite the lack of fervent popularization of this personality in the arts (at least before “Hamilton” appeared), we can conclude that this man actually laid the foundation for the formation of the American nation: he took an active part in the War of Independence, achieved ratification of the Constitution, formed the Federalist Party and became the first Secretary of the United States Treasury. Hamilton was politically active and devoted to writing, and he did so vigorously and enthusiastically. I believe that only Lin-Manuel Miranda was able to play such a bright and extraordinary personality.

Lin-Manuel Miranda has always been distinguished by some absolutely crazy and irrepressible energy, which charges and draws in even through the camera, it is certainly a very charismatic and talented actor, director and producer. Over the long six years of writing the musical, its story has become more and more filled with unique facts, stunning compositions and talented people, making the content even more complete. Lin-Manuel Miranda gave us a new perspective on the founding fathers and made us realize that history can be interesting and fascinating, it all depends on how and in what form the information is presented. Perhaps it is Miranda’s craftsmanship that I can consider to be the most successful aspect of bringing to life the “American dream” that the author undoubtedly calls for. The musical he created has forever changed the nation’s view of people who have made significant contributions to the formation and development of their country. I believe that it was clearly a wise decision to tell the story of Alexander Hamilton’s personality without much embellishment, without trying to whitewash his reputation over time, ridding the story of former intrigue and changing the character of the hero. Hamilton was shown as a willful and self-centered individual who could not be changed or stopped when it came to the goal and the means of achieving it. It is likely that Lin-Manuel Miranda put all the persistence and drive he had to achieve what he wanted and did so in such a way that even Ron Chernow, the author of the biography of Alexander Hamilton, dismissed any skepticism and realized that the work was bound to succeed.

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Barnum’s actual circus lasted until mid-2017 and was closed due to a catastrophic decline in attendance and protests by animal rights activists
It is naive to believe that embellishing real facts or even outright fabrication in films “based on real events” is a purely domestic invention. Our glamorous Vikings, over-the-top basketball players during the Olympics, or the legendary “28 Panfilovites” are nothing but blunders compared to what Hollywood made of one of the biggest con men of the 19th century, Phineas Taylor Barnum, the man who laid the foundation for the colorful but completely false sky scraper of show business that we are happy to see to this day. Michael Gracie’s The Greatest Showman, starring Hugh Jackman, has nothing to do with the real Barnum other than coincidences, which is the film’s main hoax.

However, before scolding the movie for being untrustworthy, let’s point out the positives. Of course, Jackman, dancing and singing in a high top hat, is extraordinarily good, especially if you keep in mind last year’s “Logan”, where the actor skillfully portrayed a wreck – in the “Showman” Hugh seems to have dropped a decade and again surprises with his ardor and charisma. Great in the movie put musical numbers. Yes, you should be prepared for the fact that this is a musical where the songs are subtitled, but it is not a huge problem – the lyrics are accessible to any schoolboy, so there is time to both understand the meaning and watch the spectacular choreography. Finally, the screenwriters, for better or for worse, have managed to turn Barnum’s highly questionable biography into a fairy tale story about dreams, love, freedom and equality. Given the recent grand bargain, it’s safe to say that Fox has, in this case, given a proper Disney screen presence.

Moreover, from not the most unsightly story of “the showman’s” scam the authors and actors were able to put together an instructive, though Hollywood-style straightforward and naive, tale. The main character gathers freaks and freaks of all kinds under the roof of his circus and convinces them that each of them is beautiful in his own way, and his strange artists really open up, bring the owner a fabulous profit, and then welcome them into a welcoming embrace after Barnum suddenly gets the idea to impress the high society of America with a tour of a European opera diva. Along the way, the viewer is also told a beautiful love story – Phineas has been courting Charity since childhood, for her sake makes the initial savings, and then invests all his income in the home and two charming daughters, one of whom wants to become a ballerina. What a role model!

And now it’s worth turning to official sources and see who Phineas Barnum really was. Oh! This character was worthy of an entirely different movie and certainly didn’t deserve to be played by the thoroughly positive Jackman. Barnum lived a life of lies, fraud and deceit, beating money out of his viewers, partners and creditors by any means available. The film mentions a couple of “machinations” in passing, such as taking credit against non-existent collateral and falsification of circus performers’ data, but it’s nothing compared to what the real “showman” was up to, – He had no shame in passing off an 80 year old woman as Washington’s 160 year old babysitter, selling a potion that made blacks turn into whites, showing a big tuna with a monkey’s head sewn on, telling the audience they were seeing a mermaid.

Despite extensive preparation for the role and the efforts of Rebecca Fergusson, who played the singer Jenny Lind, the actress had to be re-vocalized – her singing did not sound like the voice of the greatest diva of her time. In the film, viewers hear the voice of singer Lauren Allred.
For this man had no boundaries, no morals or obligations, he repeatedly deceived partners, diverted the state around his finger and openly profited from his artists. And he did it not for the sake of his beloved wife and daughters – the real Barnum was married twice, and he had as many as four children.

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