It was like an episode of 'Donna, this is your life!' Truly an epic evening. The funny thing is that Annie loves numbers but now she's just a number in the system.Įither going on for Roxie in front of all of my family and friends or Donna Marie's last performance. What’s the most defining characteristic of your Merry Murderess, Annie?Īnnie had this whole domestic life she envisioned for herself, and when that was betrayed, she felt like she was reduced down to just a number. I would play all the different roles and dance around my picnic chairs. I used to do this number in my living room when I was kid. How would you describe the feeling of performing “The Cell Block Tango” each night on Broadway? No matter what mood you may be in, “The Cell Block Tango” gives you so much energy and excitement. When did your journey with Chicago begin? It’s truly unique in that way and offers the actor plenty of avenues for continued exploration. I love how much improv is embedded into the numbers, so there is always an opportunity to create, no matter how many shows you’ve done. It’s an honor to dance in the style of Fosse every evening and to carry his torch as the only show on Broadway of its kind. I love being a part of the legacy of this special show. What do you love about coming to work at Chicago on Broadway? Another Fosse dream role of mine is Ponytail Girl in Sweet Charity’s “Rich Man’s Frug.” I’d also love a crack at either Helene or Nickie in Sweet Charity. It’s wildly intoxicating to understudy the part and have the opportunity to perform the role. Well, Velma Kelly has been a dream role of mine since the age of 17. Another defining show for me was when I played Penny Pingleton in Hairspray at Merry-Go-Round Playhouse- I'd never had more fun. I listened to that album nearly every day. I was obsessed with everything about it-the story, the music, the spectacle, and the dancing. But, the first Broadway show I saw was Aida, when I was in sixth grade.

Which musical made you fall in love with musicals and performing? It was surreal to play my ultimate dream role for the first time. I felt so much love and support coming from my company, my family, and my friends. My most memorable day at Chicago was September 7, 2019, when I made my Broadway principal debut as Velma Kelly. What’s been your most memorable performance so far at Chicago? Instead, he doesn’t even look up when she asks him to stop doing what he knows drives her nuts-and pops that gum louder than ever.

What she really needs from Bernie after the longest, most aggravating day of her life, is giant hug and a kiss. To those around her, to situations, and apparently to what she finds to be Bernie’s most egregious habit-incessant gum popping. What’s the most defining characteristic of your Merry Murderess, Liz? The audience is really a key player in the number as well, so it's fun to have different energy every show. It’s a thrilling moment in the show to perform because we are all featured. I am always slightly nervous, as I have the first monologue. It’s truly an honor to perform such an iconic, rich number nightly. How would you describe the feeling of performing “The Cell Block Tango” each night on Broadway? I auditioned for the show several times throughout the years, but only got to the end of the audition twice-and then I booked it this past May! When I moved to New York, I studied often with Dana at Steps on Broadway. “Hot Honey Rag” was the most fun dancing I had ever done, and I was hooked on Fosse’s style. When I was in college, I had the incredible opportunity to work with Dana Moore in a three-week residency at Syracuse University. My journey with Chicago began when I fell in love with the movie. When did your journey with Chicago begin?

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