SCENIC DESIGN OF CHICAGO: A MUSICAL VAUDEVILLE

By

JOVON R. EBERHART

A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF FINE ARTS

UNIVERSITY OF FLORIDA

2012

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© 2012 Jovon R. Eberhart

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To my parents and the faculty of Saint Ambrose University.

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 ACKNOWLEDGMENTS

I thank the many individuals who committed their time and talents to the realization

of this project.

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 TABLE OF CONTENTS

page

ACKNOWLEDGMENTS .................................................................................................. 4

ABSTRACT ..................................................................................................................... 6

CHAPTER

1 INTRODUCTION ...................................................................................................... 7

2 THE DESIGN PROCESS ....................................................................................... 10

Concept Development ............................................................................................ 10

Research ................................................................................................................ 11
Design Meeting Developments ............................................................................... 12
Drafting ................................................................................................................... 13
Renderings and Storyboards .................................................................................. 14

3 PRODUCTION........................................................................................................ 15

Design Execution .................................................................................................... 15

Construction............................................................................................................ 15
Scenic Painting and Set Dressing ........................................................................... 16
Tech Week.............................................................................................................. 17

4 CONCLUSIONS ..................................................................................................... 19

Adjudication ............................................................................................................ 19
Overall Conclusions ................................................................................................ 19

APPENDIX

A VISUAL RESEARCH .............................................................................................. 21

B INITIAL RENDERINGS AND STORYBOARDS ...................................................... 35

C DRAFTING ............................................................................................................. 70

D PRODUCTION PHOTOS........................................................................................ 82

LIST OF REFERENCES ............................................................................................. 104

BIOGRAPHICAL SKETCH .......................................................................................... 105

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 Abstract of Project in Lieu of Thesis
Presented to the Graduate School of the University of Florida
in Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts

SCENIC DESIGN OF CHICAGO: A MUSICAL VAUDEVILLE

By

Jovon R.

May 2012

Chair: Mihai Ciupe

Major: Theatre

This document details the process of executing the scenic design for Chicago: A

Musical Vaudeville by Fred Ebb and Bob Fosse, produced by the University of Florida

School of Theatre and Dance. Under the direction of Professor Tony Mata, the

production was performed in the Constans Theater of the Nadine McGuire Pavilion in

Gainesville, Florida. Discussions of this project begin with the initial design meetings,

starting in February 2011, and concluding with the production’s Kennedy Center

American College Theater Festival adjudication on November 16th, 2011. Coverage of

the design process begins with script analysis and research. Primary renderings and

drafting, as well as the modifications developed in the realization process, are also

described. Conclusions and reactions to the production are discussed.

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 CHAPTER 1
INTRODUCTION

‘Sex’ and ‘violence’ are action verbs. Both have the potential to intrigue or offend

an audience. Chicago: A Musical Vaudeville is choreographer Bob Fosse’s unique take

on a play by Maurine Watkins. Maurine Watkins’ play stemmed from her experiences as

a reporter for the Chicago Tribune. Belva and Beulah, the real-life killers who captivated

the public, provided the sex and violence. Their tales of liquor, passion, and fashion

fueled the murderesses brief careers as media sensations. To appreciate the nature of

Chicago: A Musical Vaudeville, it is necessary to examine the real-life inspiration.

To become a media icon in the 1920s, even at the city level, someone’s story had

to be big. The public was able to follow sensational stories on a national level through

mass-circulation of magazines, the syndication of newspaper headlines, and the

technologically-advancing commercial radio sector. Lindbergh crossed the Atlantic,

Floyd Collins was trapped in a cave, a man named John Scopes was teaching Darwin

in a high school, then the Lindberghs’ baby was kidnapped – stories of suspense,

tragedy, and spectacle caught the publics’ attention. And in 1924, two sinful dames

were the darlings of the Chicago press.

Eighteen days before her appearance in the Criminal Courts Building, Beulah

Annan was simply an assistant bookkeeper. But April 21st, 1924, had been declared

“Ladies’ Day” by The Evening Post. She and Belva Gaertner greeted their public in

fashionable attire, and the spectators and reporters spilled into the hall. (Perry 113-114)

Mrs. Gaertner had been in the headlines a bit longer. On March 12th, police had found

the corpse of an automobile salesman in a car. The vehicle was Belva’s, as was as

pistol used in the shooting. But on April 3rd, Beulah arrived in the media limelight after

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she shot her lover, Harry Kalsted. Now the public eagerly awaited the trials of the two

stylish women (Berardino 88-89)

The Chicago Tribune had assigned a young, female writer to report on the cases.

Maurine Watkins was not native to the White City, but she understood what the public

expected. “Chicago, bless her heart, will swallow anything with enough gore and

action.” (Perry 80)

Soon a Polish gunner named Wanda Stopa threatened Beulah’s media coverage.

The new story was scandalous, even by Chicago’s standards. Conveniently, within days

of her flickering spotlight, Beulah announced she was pregnant. (Perry 158) Thanks to

the unexpected twist, Annan stayed on the front page of the papers. Further, Illinois law

prohibited pregnant women from receiving the death penalty. (Berardino 89) But

Beulah’s acquittal wasn’t the headlining story. That privilege belonged to Nathan

Leopold and Richard Loeb, two graduate students attending the University of Chicago:

“All City Hunts Kidnappers”. (Perry 198-199)

Within a year of the trials, Watkins left Chicago, enrolled in Yale’s Drama School

workshop, and penned a play entitled A Brave Little Woman. Renamed Chicago, it

premiered in 1926. A silent film was produced the following year, and in 1942 a version

called Roxie Hart, staring Ginger Rogers.

But Maurine didn’t enjoy the success of her work. In fact, she was ashamed of her

creation. After becoming a born-again Christian, Watkins said she was ashamed of

turning the murderesses’ stories into a comedic play. (Lesy 196-197) She began paying

an annual fee to the American Play Company to prevent any revival of the work.

(Kiernan) Watkins died in 1969, and the estate agreed to sell the play’s rights to a

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choreographer named Bob Fosse. The project was first publicized in 1972, but the

musical took three years to open. (Lesy 78) Chicago: A Musical Vaudeville opened

within two weeks of A Chorus Line, the runaway hit of 1975. The 1996 revival faired far

better, as did the 2002 Oscar-winning film. (Suskin 322)

Before Chicago: A Musical Vaudeville was the inspiration for a hit film, it was a

John Kander, Fred Ebb, and Bob Fosse collaboration. And prior to Fosse’s adaptation,

Watkins’ play served as the inspiration for two film adaptations. The general theatre

audience will not recognize the name Beulah Annan, but likely know her stage

personification, Roxie Hart.

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 CHAPTER 2
THE DESIGN PROCESS

Concept Development

The concept for this production developed through a responsive process. The

design for Chicago could have ventured in many directions. My primary goal was to

serve Director Tony Mata’s vision for this particular production of the musical while

responding to the needs of the actors and fellow designers. Throughout the process

ideas were researched, expanded, incorporated, and dropped completely.

Prior to the formal design meetings, I began discussions with Professor Mata in

early February. He was quick to recognize the challenges that would be facing the

design team. Mata expressed a desire to connect with the college-age audience, while

recognizing many patrons would have expectations for the musical based on the Oscar-

winning film adaptation. He also expressed the need for an atmosphere with a sense of

incarceration, yet an environment that would support the need for large, open dance

spaces.

The design team first met in mid-February. Since the meeting was held prior to the

announcement of the production’s costume designer, and before the team had received

copies of the script, the discussions focused on broad, general ideas regarding the

design concept. Based on previous discussions with Professor Mata, I had prepared by

drawing visual inspiration from construction sites and Chicago buildings from the turn of

the century. I had printed about four-dozen black and white images, and spread them

out over two tables in the design studio. I asked the design team to respond to the

images.

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 Initially I explored a concept rooted in Chicago’s architectural history of destruction

and innovation. The skyscraper was developed in the city’s rebuilding that followed the

Great Chicago Fire. I noted Mata’s responses, and realized his production required

conceptual development in another direction. This sinister group of Fosse dancers

demanded the ability to quickly utilize resources – furniture, props, or people – and

discard them promptly. It’s a hungry ensemble. From their animalistic desires for sex

and violence, I decided to shift my concept efforts. Construction is about progress. The

Chicago slaughterhouses were about carnal harvesting. I left the first design meeting

with a clear direction for the production’s scenic concept.

Research

Before the murderesses characters of Chicago were on a stage, they were real-life

criminals in the “White City”. Therefore, my research was rooted in Maurine Watkins’

play, Fosse’s adaptation, and the rich history of the city of Chicago.

Watkins’ initial adaptation provided first-hand insights about the characters and

their surroundings. For example, the Prologue opens with a description of Amo Hart’s

bedroom. In eight paragraphs, Watkins detailed the room with vivid language. With such

descriptions, Watkins gave the characters’ habitats a sense of personality.

Other research materials also proved helpful. David Lowe’s books Chicago on

Foot and Chicago Interiors provided a visual history. Books such as Erik Larson’s The

Devil in the White City and Upton Sinclair’s The Jungle provided insightful depictions of

turn-of-the-century life in Chicago. Both feature vivid descriptions on the Union

Stockyards and slaughterhouses. The guided tours of the slaughterhouses intrigued

me; a morbidly curious public tiptoeing on a tour, anxious to witness the spectacle but

hesitant to walk in any blood puddles.

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 Design Meeting Developments

Between design meetings one and two I acquired a copy of the script. It was

already clear that the set would need to foster smooth scenic transitions. Chicago

moves at a relentless pace. A turntable would provide quick scenic transitions. Further,

the backstage crew – likely to have little experience – would be able to set and strike

complex furniture arrangements in a well-lit backstage with ample time to work.

The scenic design evolved rapidly during the four design meetings of the spring

semester. The initial floorplan and renderings were presented at the second design

meeting. Professor Mata enjoyed the general layout, but wanted to push the industrial

yet dangerous atmosphere further. The original railings were a nod to Chicago’s

Edwardian architecture. They were exchanged for horizontal, simple railings. Abstract

prison bars were added downstage to the proscenium to mimic the scrim panels. A

meeting was scheduled to storyboard the show with the director.

Prior to the storyboard meeting, dozens of blank floorplans were printed and

labeled according to a scene/musical number. Some numbers, such as “Mr.

Cellophane”, required multiple floorplans. Professor Mata and I discussed the action of

each scene. We developed furniture plans, the turntable’s rotation schedule, and an

elevator schedule. Also, the director expressed a desire for more staircases. We

cleared the additional staircases with the technical director, already understanding the

production would put heavy construction demands on the shop.

The scenic design evolved rapidly during the four design meetings of the spring

semester. A white model was presented at design meeting three, and full-color model

at design meeting four. A rough set of storyboards was also presented at the final

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design meeting. The show was mapped in regard to the turn table’s rotations. Major

furniture elements and potential flying scenic elements were also included.

During the design process, lighting designer Mike McShane and I discussed the

potential of embedding lighting fixtures within the set. After exploring a variety of

options, weI created a prototype using LED light fixtures. Rivets constructed from

fiberglass were backlit, mimicking the light created by small globe bulbs. We worked

together to create the draftings and project expense estimates.

The collaboration process with costume designer Stacy Galloway focused on

harmony between the production’s set and costume color palettes. Also, it was

important the gray prison uniforms stood out from the set’s metallic hues. Using a fabric

swatch for guidance, the paint elevations were developed to contrast the costume

designer’s selection. Also, the color choices for Roxie and Kitty’s bed sets were based

on discussions with Galloway.

The team communicated by email over the summer break, and began reconvening

informally at the start of the fall semester.

Drafting

The majority of the drafting was completed before the end of the spring semester.

The drafting was formatted for 24” by 36” places. (Appendix C) Some elements, such as

the turntable, were incredibly detailed. Other scenic projects, such as Roxie and

Velma’s finale sign, were vaguely drafted. This decision was intentional. Such elements

would require collaboration with the lighting designer, and would be subject to extensive

revisions. The furniture elements I planned to build, such as the prison table, were

drafted in AutoCAD and rendered using Google SketchUp. Importing multiple views of

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furniture helped clarify the assembly process. Also, I was able to address potential

building issues by developing detailed cut lists.

Renderings and Storyboards

Dozens of renderings were created for the stage manager, director, the design

team, and choreographers. (Appendix D) The floorplan was imported into Google

SketchUp. Then, a three-dimensional layout was developed. A JPEG of this model was

imported into Photoshop. The first renderings with textures and characters were

presented in April. In September, a complete packet of 30 storyboard renderings was

made available. The storyboards aided the production team on multiple levels. The

rehearsals had a clear sense of the stage layout for every scene, and furniture and

turntable rotation schedule were developed in great detail.

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 CHAPTER 3
PRODUCTION

Design Execution

The design’s construction process began a few weeks into the fall semester. With

shows in both the Black Box and the Constans Theater, space for material storage and

construction were limited. Prior to the closing of the department show, You Can’t Take It

With You, the shop focused on rivet fabrication. Hundreds were added to the set to

create an industrial feeling. Also, the lumber was base coated. I began constructing

small scenic elements, such as Roxie’s record player and Billy’s desk. After strike for

the main stage show, I was able to tape out the floorplan. Multiple weekend work calls

were necessary to realize the design. Technical Director Zak Herring allowed me to play

a large role the project’s labor management. I was able to assign individuals to projects

that utilized their talents; but also rotated people between repetitive tasks to help avoid

boredom.

Construction

Though some scenic elements were constructed outside of the performance

space, the majority of the platforms needed to be installed in place. First the platforms

and decking supports were installed. Jack Graham, an engineering major, designed the

aluminum trusses that bore the weight of the orchestra section. Then the staircases,

railings, and fire poles were installed. A section of platforms over the trap doors were

dropped, and the turntable constructed. The stud walls of the turntable were installed

soon after.

My primary challenge was balancing my time in the shop between the design

install and requests for rehearsal furniture. As the choreographers developed complex

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dance numbers, I understood their need for appropriate furniture, but wanted to focus

my efforts on the set’s construction.

Master Carpenter Tony Berry primarily executed the show’s metalworking

demands. The set’s staircases were a particularly taxing project. Consider the effort

necessary: forty-eight steps were created for the metal staircases. Each stair required

four pieces of box steel and eight welds. Nearly four-hundred welds were required for

the steps’ fabrication. I was able to assist on the metalwork, as were some other

students. But Mr. Berry’s contributions to the set were substantial.

Scenic Painting and Set Dressing

My painting and set dressing decisions took into consideration the enormous scale

of the design. Paint treatments needed to quickly cover large areas. Furniture elements

and set dressings would need to move easily during rapid scenic transitions.

After researching multiple metallic paint options, I discussed the possibility of using

a product from Martha Stewart’s line with the production’s Technical Director, Zak

Herring. In addition to being locally available, the paint would cost half as much as the

better-known theatrical brands. The majority of the set was painted with a wet blend of

gun-metal gray, black, and white.

The floor’s paint treatment required three steps. First, the entire surface was

painted with a fresh coat of black. Next, a layer of gun-metal gray was applied with drop

rags. (A technique similar to rag rolling.) Finally, the floor was sealed with a

polyurethane-based seal, with black tint added. The entire process was executed in less

than six hours.

Very few complex paint techniques were used. Much of the lumber was base-

coated prior to any construction. The pinstriped panels used in the musical number

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“Razzle Dazzle” and the Seal of Chicago (used in the Courtroom scene) were the most

time-consuming projects. Some furniture elements, such as Billy’s desk, were wood

grained with a wet blend.

Roxie’s bedroom, Billy’s office, and Kitty’s bedroom required a great deal of set

dressing. The needs of the changeover crew were considered early on. The fabric

goods were rigged for fast changes. The three sections of curtains covering the back

wall were equipped with metal snaps to aid fast placement. The skirts for both bed

sheet sets were attached to the bedframe. Crew members simply tucked Roxie’s bed

dress layer up for Kitty’s scene. Finally, all set dressing elements were well affixed to

the furniture they rested upon. Crew members focused only on the furnitures’ spike

marks on the floor.

Tech Week

This production had an usual tech week schedule. Due to the weekend

Homecoming festivities, it was necessary to begin cue-to-cue rehearsals the week prior.

Though the majority of the scenic elements were in place, the set dressing and scrim

panels had not been completed. The backstage crew was not called until the Sunday

rehearsal. I assisted the deck manager with the necessary scenic changes on the

turntable. These rehearsals proved very beneficial; the paperwork for the scene change

schedule was revised and fully prepared for the formal paper tech.

With the exception of the scrim panels and the elevator, all scenic elements were

functioning for tech Sunday. They were finished in the following days. Set dressings and

other final touches were completed for Thursday night’s run-through.

The back stage crew executed the complex scenic transitions with impressive

precision. At no point during tech week was a rehearsal held to address a change-over

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problem. The crew members had received special training on their first day of tech

week. With spring-loaded steps, a student-operated elevator, and dozens of pieces of

furniture, a training session was essential. I was grateful for their dedication to the

actors’ safety and commitment to the production.

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 CHAPTER 4
CONCLUSIONS

Adjudication

The production received a Kennedy Center American College Theatre Festival

adjudication by Patricia Crotty after the November 16th performance. Her feedback for

the production was extremely positive. Crotty enjoyed the overall scenic concept. In

general, her suggestions for improvement were minimal. Crotty expressed a desire for a

fancier, grand piano. The worn, upright piano was chosen for space and aesthetic. Also,

the upright mirrors used for “Roxie” appear rippled. An increase in the size and quantity

used had required a change in materials. I was aware of the issue prior to the

evaluation. The adjudication confirmed many of our feelings about the success of the

production’s design.

Overall Conclusions

While drafting the design for Chicago, I began referring to the project as “setzilla”.

It was a term of endearment, but also a recognition of the scale of the project. On paper,

Chicago’s set had twelve flights of stairs, as well as two fire poles, a functioning

elevator, over fourteen-hundred fiberglass rivets, two aerial performers, and twelve

moving line sets during the performance. The prospect of drafting, let alone building the

set was daunting. The project’s success was possible only through the creation of a

realizable design, maintaining a flexible vision, and the dedication of countless

individuals.

Though the design was massive, a detailed analysis of the drafting reveals

consistent, repetitive design choices. All staircases were designed to the same width, all

rivets to the same size and diameter. Other designed elements, such as Kitty’s

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headboard, were modified when a suitable substitute was found in stock. Such

decisions conserved time and budget – both valuable assets.

Training undergraduates to repeat a simple task, like casting rivets or cutting

metal, help bring speed the build process. Even simple tasks required precise execution

and the dedication of the entire shop.

In particular, the staff, faculty, and graduate students within the shop contributed

countless hours to the project. Without the engineering of Jackson Graham, the

orchestra’s placement would not have been possible. My fellow graduate students

dedicated many weekends to work calls, and undergraduate students also contributed

time above and beyond their required shop hours.

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 APPENDIX A
VISUAL RESEARCH

Figure A-1. Research, Crowd after fire as Chicago’s South Side1941

(Source: http://totallyfreeimages.com/420262/Crowd-gathered-to-see-
damage-done-by-fire-on-the-South-Side-of-C. Last accessed April 2012)

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Figure A-2. Research, Subway Riveted Water Pipe, New York. 1904
(Source: http://www.gutenberg.org/files/17569/17569-h/17569-h.htm. Last
accessed April 2012)

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Figure A-3. Research, Subway Construction, New York. 1904
(Source: http://www.gutenberg.org/files/17569/17569-h/17569-h.htm. Last
accessed April 2012)

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Figure A-3. Hotel Belmont Construction, New York. 1904
(Source: http://www.gutenberg.org/files/17569/17569-h/17569-h.htm. Last
accessed April 2012)

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Figure A-4. Research, Frank Leslie’s illustrated newspaper. 1887
(Source: http://www.chicagohistory.org/hadc/visuals/67V0240.htm. Last
accessed April 2012)

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Figure A-5. Research, Frank Leslie’s illustrated newspaper. 1887
(Source: http://www.chicagohistory.org/hadc/visuals/73V031B.htm. Last
accessed April 2012)

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Figure A-6. Research, Norwegian Exhibit, Columbian Exposition. 1893
(Source: http://www.gutenberg.org/files/22847/22847-h/22847-h.htm. Last
accessed April 2012)

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Figure A-7. Research, Construction, Columbian Exposition. 1892
(Source: http://totallyfreeimages.com/365436/Transportation-Bldg.-%5Bbeing-
built%5D,-Worlds-Columbian-Exposi. Last accessed April 2012)

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Figure A-8. Research, Mines & Mining Building, Columbian Exposition. 1893
(Source: http://totallyfreeimages.com/368422/Crane-for-placing-exhibits,-
Mines-and-Mining-Building. Last accessed April 2012)

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Figure A-9. Research, Armour Meat Plant. Scraping Rail. Chicago, 1909.
(Source: http://totallyfreeimages.com/382660/Hog-scraping-rail,-Armours-
Packing-Plant,-Chicago,-U.S.A. Last accessed April 2012)

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Figure A-10. Research, Armour Meat Plant. Beeve Dressing. Chicago, 1892.
(Source: http://totallyfreeimages.com/384722/Dressing-the-beeves,-Armours-
great-packing-house,-Chicago,-. Last accessed April 2012)

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Figure A-11. Research, Armour Meat Plant. Sausage Department. Chicago, 1893
(Source: http://totallyfreeimages.com/382688/The-sausage-department,-
Armours-great-packing-house,-Chicag. Last accessed April 2012)

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Figure A-12. Union Stockyards, Chicago. 1905
(Source: http://totallyfreeimages.com/370958/A-busy-morning-in-the-Great-
Union-Stockyards,-Chicago. Last accessed April 2012)

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Figure A-13. Research, Circus. ‘The Circus Procession’. 1888
(Source: http://www.gutenberg.org/files/10749/10749-h/10749-h.htm. Last
accessed April 2012)

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 APPENDIX B
INITIAL RENDERINGS AND STORYBOARDS

Figure B-1. Rendering Presented at Design Meeting Two

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Figure B-2: Rendering Presented at Design Meeting Three

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Figure B-3. Rendering I.1 Overture

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Figure B-4. Rendering I.2 All That Jazz

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Figure B-5. Rendering I.3 Funny Honey

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Figure B-6. Rendering I.4 The Cell Block Tango

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Figure B-7. Rendering I.5 When You’re Good to Momma

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Figure B-8. Rendering I.6 All That Jazz Reprise

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Figure B-9. Rendering I.7 The Jail

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Figure B-10. Rendering I.8 The Visitor’s Area

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Figure B-11. Rendering I.9 All I Care About

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Figure B-12. Rendering I.9A All I Care About – Playoff

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Figure B-13. Rendering I.10 A Little Bit of Good

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Figure B-14. Rendering I.11 Transition to Jail

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Figure 15. Rendering I.12 Both Reached For the Gun

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Figure B-16. Rendering I.13 Roxie

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Figure B-17. Rendering I.14 Roxie Limbo

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Figure B-18. Rendering I.15 In The Jail

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Figure B-19. Rendering I.16 I Can’t Do It Alone

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Figure A-20. Rendering I.17 I Can’t Do It Alone Tag

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FIGURE 21. Rendering I.18 After Midnight

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FIGURE B-22. Rendering I.19 My Own Best Friend

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Figure B-23. Rendering I.20 I Know A Girl

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Figure B-24. Rendering I.21 Me and My Baby

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Figure B-25. Rendering I.22A Start and End of Mr. Cellophane

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Figure B-26. Rendering I.22B Mid-Song Mr. Cellophane

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Figure B-27. Rendering I.23 The Poker Game

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Figure B-28. Rendering I.24 When Velma Takes The Stand

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Figure B-29. Rendering I.25 Hungarian Rope Trick

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Figure B-30. Rendering I.26 Outside The Courtroom

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Figure B-31. Rendering I.27 RAZZLE DAZZLE

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Figure B-32. Rendering I.28 The Courtroom

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Figure B-33. Rendering I.29 Class

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Figure B-34. Rendering I.30 The Verdict

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Figure B-35. Rendering I.31 Hot Honey Rag

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 APPENDIX C
DRAFTING

Figure C-1. Drafting Plate A1

70
Figure C-2. Drafting Plate A2

71
Figure C-3. Drafting Plate A3

72
Figure C-4. Drafting Plate B1

73
Figure C-5. Drafting Plate B2

74
Figure C-6. Drafting Plate C1

75
Figure C-7. Drafting Plate C2

76
Figure C-8. Drafting Plate C3

77
Figure C-9. Drafting Plate C4

78
Figure C-10. Drafting Plate C5

79
Figure C-11. Drafting Plate C6

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Figure C-12. Drafting Plate C7

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 APPENDIX D
PRODUCTION PHOTOS

Figure D-1. Velma’s Entrance. “All That Jazz”

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Figure D-2. Roxie’s Bedroom. “Nobody walks out on me.”

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Figure D-3. “Funny Honey”

84
Figure D-4. “The Cell Block Tango”

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Figure D-5. “When You’re Good To Momma”

86
Figure D-6. “All I Care About”

87
Figure D-7. Billy’s Office. “Things would have turned out differently.”

88
Figure D-8. Press Conference at the Jail. “We Both Reached For the Gun”

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Figure D-9. “Roxie”

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Figure D-10. “I Can’t Do It Alone”

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Figure D-11. Kitty’s Bedroom. “Chicago After Midnight”

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Figure D-12. Kitty At the Jail. “Go to hell all of you!”

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Figure D-13. Reporters at the prison. “A baby?!”

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Figure D-14. “I Know a Girl”

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Figure D-15. “Me and My Baby”

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Figure D-16. “Mr. Cellophane”

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Figure D-17. Jail. The Poker Game

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Figure D-18. “When Velma Takes The Stand”

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Figure D-19. The Hungarian Rope Trick

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Figure D-20. “Razzle Dazzle”

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Figure D-21. Courtroom. “I mean to kill you!”

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Figure D-22: “Hot Honey Rag”

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 LIST OF REFERENCES

Berardino, Paul. Renee: How a Small Town Texan Became a Hollywood Megastar.
Bloomington: AuthorHouse, 2010. Print

Lesy, Michael. Murder City: The Bloody History of Chicago in the Twenties. New
York:W.W. Norton & Company, Inc., 2007. Print

Kiernan, L. The story behind ‘Chicago’ is a real doozy: Maurine Watkins based her
play on murder trials she sensationalized as a reporter. Orlando Sentinel. 13 June
1999. 10 March 2011. <http://articles.orlandosentinel.com/1999-06-
13/entertainment/9906110677_1_maurine-watkins-watkins-left-city-editor>

Perry, D. The Girls of Murder City: Fame, Lust, and the Beautiful Killers Who Inspired
Chicago. New York: Viking, 2010. Print

Suskin, Steven. Show Tunes, the Songs, Shows, and Careers of Broadway’s Major
Composers. 4th. New York: Oxford University Press, 2010. Print

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 BIOGRAPHICAL SKETCH

Jovon holds bachelor of art degrees in both Theatre and Marketing from Saint

Ambrose University. While studying in the Quad Cities, she interned with Circa ’21

Dinner Playhouse, designed for The Green Room Theatre, Junior Theatre, and

Ambrose’s Studio Theater, and was awarded the Rick Koehler Outstanding Senior

Award.

During her time at the University of Florida she designed both scenery and props

for department productions, Florida Players’ shows, and assisted the School of Music

with multiple opera productions. Jovon interned at the Asolo Repertory Theatre,

assisting scenic designer Tobin Ost on Bonnie & Clyde. She graduated in May 2012

Summa Cum Laude, and was recognized as the department’s Outstanding Graduate

Student.

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