#CHICAGO MUSICAL POP SIX SQUISH FULL#

The Murderesses who were not in the front stood in back swaying and singing the back-up. They only used a male for the introductory part. A student group also attempted to do the skit that term (and had it down - the difference was that they would sing it) for the Talent Show, but it was squashed as it was similiar to the Staffs' lip sync.Īt Duke East Term II 2004, a group of six girls did this for the lip sync. Some of tthe staff did this at the lip sync at term I at Davidson as well. There are choreographed bits at the beginning and end that also benefit from chairs.Īt Davidson Term II 2005, some of the staff did this at the lip sync. The sketch is better done with chairs for the Murderesses who are not dancing. They each tell their story (Pop kills her husband, who pops gum, Six dates a mormon who had 6 wives, Squish kills her husband, who accuses her of cheating, Uh-Uh is an innocent hungarian ballerina, Cicero's husband cheats on her with her sister, and Lipschitz's boyfriend also cheats on her) and then procede to tango with their partner (Or in Uh-Uh's case, she dances around him).

There is more than one way of performing it. The Cell Block Tango has 6 female characters, whose names are Liz, Annie, June, Hunyak, Velma, and Mona but are commonly referred to as Pop, Six, Squish, Uh-Uh, Cicero, and Lipschitz. No wonder it’s said to be the longest-running American musical in Broadway.Īnd that, guys, is how you end the year on a high note.The Cell Block Tango comes from Chicago. I was definitely razzle-dazzled and impressed by this production. MacLeod rocked the roles of Roxie Hart and Velma Kelly respectively, and so did the actors who played Billy Flynn, Amos, and “Mama.” I enjoyed how the cast interacted with the orchestra, especially with the conductor and how they broke the fourth wall at times. Now, that’s talent. Bianca Marroquin and Terra C.

#CHICAGO MUSICAL POP SIX SQUISH FULL#

It amazes me how the cast managed to pull off those moves and stunts while singing at full voice and, for some of them, wearing heels to boot. Apart from the clever storyline and the riveting music, there are the crazy-good dance sequences. That’s the perfect word for Chicago: entertaining. Sadly, we still see this going on today-criminals and lawyers toying with the public to get out of a rightful sentence.

Though I’d seen the film, it was only when I watched the live production that I fully realized the genius behind John Kander, Fred Ebb, and Bob Fosse’s creation. I loved how the lights were utilized to give the illusion of prison cells and to highlight the glitz and glamor that masked the alarming truth behind the musical. The stage was smaller than I’d expected, but the American performance company made excellent use of it, with the cast maximizing every inch of space that wasn’t taken up by the orchestra. The upside for us was that we were able to switch seats and get a much better view. I’m guessing people were busy with Christmas parties and last-minute shopping. Surprisingly, the newly opened Theater at Solaire was far from full, at least in the balcony where we were seated. We caught one of the last shows in Manila. I hadn’t planned on watching Chicago live since I’d already seen the movie, but my sister asked for tickets to the show as my parents’ gift to her, so I ended up happily accompanying her. I’ve got a lot to share with you guys, but for now, I’ll start with the end…the end of my 2014 theater exploits, that is. So my blogging streak has been interrupted once again, this time by the holiday madness.

Chicago musical pop six squish