Nashville Repertory Theatre's Production of Chicago The Musical

Appropriate audience: High school and above.


Previews: Mar 17-18, 2016
Regular Run: Mar 19–Apr 16, 2016


  Johnson Theater, TPAC

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Nashville Repertory Theatre's production of the musical Chicago, music by John Kander, lyrics by Fred Ebb and a book by Ebb and Bob Fosse. Live onstage at Tennessee Performing Arts Center's (TPAC) Johnson Theater, March 19 through April 16, 2016 with previews March 17-18. Featuring DeVon Buchanan as "Ensemble," Geoff Davin as Billy,"" Billy Ditty "Ensemble," Rosemary Fossee "Ensemble," Shawn Knight as "Amos/Ensemble," J. London as "Mary Sunshine," Mia Rose Lynne "Ensemble," Corrie Maxwell as "Velma," Mallory Mundy "Ensemble," Everett Tarlton "Ensemble," Jennifer Whitcomb-Oliva as "Mama," and Martha Wilkinson as "Roxie."

Chorus girl Roxie Hart tried to pin the murder of her lover on her unwitting husband, but the jig is up and Roxie has landed herself in Cook County Jail. Jazz star and accused murderer Velma Kelly is less than pleased to see Roxie on her cell block, since Roxie’s sensational crime and feigned innocence capture the attention of Velma’s hotshot lawyer Billy Flynn. This Tony Award-winning satire whisks you into a world where everyone is a dazzling performer, truth is defined by what gets the most attention, and owning the spotlight is the most important thing. Life is just theatre, and All That Jazz.

It's Chicago! This show has been on my short list forever. In fact, we tried to schedule it in a previous season a few years ago but the rights were made unavailable due to the tour. So this time when I asked for the rights, the licensing rep at Samuel French called me personally on the phone to tell me we were going to be given permission this time-Woo-hoo! Jason Tucker, who was music director for Sweeney Todd, will return to work with us again on this one, and Pam Atha, who choreographed both Cabaret and Company, will join the team. When working on a musical, a successful partnership between the director, music director and choreographer is key and I couldn’t be more excited about working with Jason and Pam again. We will be arranging the Johnson Theatre like we did for Company, in the thrust arrangement (audience on three sides) but with cabaret tables on the sides instead of seating banks. Gary Hoff, our wonderful scenic designer, and I have begun to chat already, and we’ll be working on creating an immersive, wall-to-wall theatrical experience, turning the room into a roaring '20s vaudeville nightclub. This is a terrific show for the actors here—we have so much musical theatre talent—and I’m planning for there to be a couple of intern roles available for this show as well. I have loved this show for so long, and the older I get, the more amazed I am at its relevance. Of course, while being a musical comedy sporting scads of songs that we all have grown to love ("All That Jazz," for example) it’s actually a very subversive satire, mocking our infatuation with celebrity and our willingness to be “razzle-dazzled”. Like Glengarry Glen Ross, its relevance is one we wish would grow less so over time, yet the way things are going culturally it just gets greater and greater. If you love the way we do musicals I hope you will be particularly excited about our tackling this American musical classic, and if you are new to it I look forward to being your first. All I care about is love…!



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LookIn - March 8, 2016 at 6:00 PM

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