Chicago Response To Bob Fosse

Raven Davis
Professor M.
Intro to Theatre
June 25, 2014
Chicago Response

The film Chicago is largely based on the Broadway musical of 1975. The said theatrical show ran for approximately 936 performances. It was the best project of Bob Fosse who had actually choreographed and directed the original Broadway production of 1975 plus had won an Oscar in a successful manner for his excellent direction in 1972 of the film version of famous Cabaret. It is to be highly noted that he died much before actually realizing his dream version. On the other hand, characteristic jazz choreography style of Fosse is evident in a successful manner throughout the 2003 film.
The realistic elements of Chicago – the film accounts for the direct impact generated
by the long anticipated production influences on the film. However the theatrical facts have it that writing out the numerous staging conventions of the film with the traditional aspects in it were the main contributing factors for the film’s success.
The fact that the musical lists were staged sequentially along with the song variations and the comic elements included within them portrayed the theatrical attributes of the film.
The subsequent editing of the scenes by the use of sketch patterns and drawing models was another aspect that gave vent to the theatrical features. On the contrary, majority of the songs were based on characters such as Texas Guinan, Helen Morgan and Ted Lewis that distinguished the real life aspects from the reel ones. Eddie Cantor and Bert Williams were also the focus of the song lyrics.
The incorporation of the double snap basically highlighted the afterthought of Fred Ebb which was eventually used in “Razzle Dazzle” as well. A few finger snaps were added later on to the song as an example. Such modifications in the theatrical concepts of the staging style played a crucial role in the success of the film. On the other hand, scenes in "real life" were actually filmed with a hard-edged starkly realistic. (This particular construct is the actual reason mentioned by director Marshall regarding why "Class," actually performed by Mama and Velma was cut from the said
movie.)
The significant reduction in the intrinsic Brechtian subtlety caused “Razzle Dazzle” to be rehearsed initially as an orgy which is yet another instance wherein alterations to theatrical parameters resulted Fosse to be considered in allowing adequate room for staging the character. However the musical performances tended to be based on the practical factors mostly and the multiple musical performances were chiefly based on a Broadway performance. Considering the staging of the characters that were given through Maurine Watkins in 1926 about two significant real-life related Jazz-era murderers one named Belva Gaertner and another one named Buelah Annan.
The climax of the film involved an act that was generally referred to as “Loopin’ the loop”.
The act eventually gave an amateur appearance as Fosse would have it. In order to address this issue “glamorous pretty gowns” were used that gave the characters a much more professional outlook and strengthened each of their identity in the film. Once again it hints at the theatrical changes that were made in the film gradually. The courthouse scene was perfectly shot, in Osgoode Hall. Other few scenes were well-filmed at prominent halls related popular musical performance that captures the hearts of audience with a lot of clarity and elegance. All coaching related to vocals for the movie was successful led by Elaine Overholt who is Toronto-based, whom actually Richard Gere personally thanked during his acceptance speech ay Golden
Globe.
Yet another theatrical character called Harry Glassman had his speech cut out to bring in more depth to his role in the film. The character was shaped in such a manner that the extra bit of room was duly filled in by the chorus. The practical elements over here included the sustained enthusiasm of the parallel montage that was given with a lot of perfection.
There are several shades of Marshall's directing influences plus comes being too streamlined with a lot of perfection in order to largely attract the given audience. As expected in stage, "Cell Block Tango", "Funny Honey", "Razzle Dazzle" and "All That Jazz". The camera work makes a larger difference between the stage performance and filmy capture of frames that really binds the audience to the wholesome entertainment with a lot of perfection. The audience can really feel the difference between the acting capacity of actors and actress performance in the stage performance and filmy character to a large extent.