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Miraculously, they managed to keep the cast together until Fosse could go back to work.But though his taste had always tended toward the dark side – lyricist Fred Ebb referred to him as the Prince of Darkness – it had now gotten darker. Like Oliver Stone's 1994 film Natural Born Killers, Chicago takes the form of that which it criticizes.Before the open heart surgery, the darkness had been a kind of caricature; now it was real. A scathing satire of the how show business and the media make celebrities out of criminals – and thereby make crime attractive – the story is told through a succession of vaudeville acts.Fosse was saying, okay you've been lied to long enough – we're gonna pull back the curtain and let you see what's really going on.Like much of Fosse's other, later work, Chicago is a show overflowing with raw sexuality, creating a world that is shocking, frightening, dangerous.

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Fosse made theatre pieces about the decadence of our world, the lies and conceits and compromises, the deals with the devil we all make, and as in Sweet Charity, Pippin, and Fosse's film version of Cabaret, Chicago is a show which makes the audience uncomfortable.

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