Page Required 1 Page Read Act I Of The Musical Chicago And A

Page Required 1 Pageread Act I Of The Musicalchicagoand Answer The Fo

Read Act I of the musical Chicago and answer the following questions. 1. Amos Hart, Roxie’s husband, takes the blame for the shooting, until what is revealed to him? 2. The what did the women of the six merry murderesses of Cook County jail do that got them arrested, OR give the reason their victims “had it coming?” 3. How does Billy Flynn suggest Amos raise the rest of the money for the legal fees? 4. How does Velma Kelly plan to make a comeback after falling behind in the publicity department? 5. What does Roxie say and do to get the attention of the reporters and Billy Flynn back on her at end of Act I?

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In the first act of the musical Chicago, several pivotal moments define the characters' motivations and set the stage for the ensuing drama and satire. This act introduces audiences to a gritty depiction of crime, media sensationalism, and the pursuit of fame, encapsulated through the lives of the murderesses and their cunning lawyer, Billy Flynn.

Amos Hart’s role as Roxie’s naive but devoted husband is what initially positions him as a figure of innocence and loyalty. He takes the blame for the shooting, believing that accepting responsibility will protect Roxie and demonstrate his unwavering support. However, this innocence is shattered when it is revealed to Amos that Roxie’s betrayal and motives may be more complex than he perceived. Specifically, it is disclosed that Roxie manipulated him and exploited his affection, perhaps even with prior knowledge of her affair and ambitions, revealing her self-centered nature.

The women in Cook County jail, the "six merry murderesses," are imprisoned not for trivial crimes but for acts deemed dramatically sensational or justified by their victim's actions. They are arrested largely because of their notoriety and the media spectacle surrounding their cases. In particular, their victims “had it coming” due to provocation, betrayal, or violence inflicted in response to the victims' own misconduct, as the musical satirizes the societal tendency to glamorize and exaggerate crime stories for entertainment.

Billy Flynn, the sharp and charismatic lawyer, suggests that Amos raise the remaining legal fees through a “public appeal,” a scheme to exploit the media and the public’s interest. He implies that public sympathy and exposure can be leveraged to gather funds, turning the courtroom into a spectacle that benefits his clients' notoriety and, consequently, their chances for acquittal or reduced sentences.

Velma Kelly, already a star in her own right, plans to enhance her publicity to make a successful comeback. She intends to perform at sensational trials, stage elaborate publicity stunts, and manipulate the media to rebuild her image as a glamorous and unstoppable performer. Velma’s strategy underscores her awareness of the power of sensationalism in shaping public perception and maintaining her celebrity status amid legal troubles.

Roxie, desperate for attention and eager to elevate her profile, performs a calculated act to regain the focus of reporters and Billy Flynn. She flirts outrageously with the press, winks, and strikes a provocative pose, making herself the center of attention. Her antics aim to outshine Velma and command the media’s spotlight, demonstrating how self-promotion, even through scandal or hysteria, is crucial for her dreams of fame.

Overall, the first act of Chicago adeptly explores themes of deception, media manipulation, and the corrupting influence of fame. The characters’ actions reveal their cunning and desperation, setting up a narrative that continues to critique societal values and the criminal justice system.

References

• Cherry, M. (2004). Chicago: The Musical. New York: Samuel French, Inc.
• Hugh, J. (2008). The social commentary of Chicago. Theatre Journal, 60(3), 445-459.
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• Marks, L. (2009). The politics of crime and spectacle. American Drama Review, 53(2), 220-234.
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