The lighting design for Chicago came relatively late in the production process. The scenic designer was taking a stark approach to the show, employing lines and mass of the steel undergirding of the elevated trains in the Chicago Loop. The design was tending toward a black and white set, encompassing piano keys as a motif of the jazz period. Color developed into an important consideration in the lighting, I recall the scenic designer asking me to "paint the set with light".

But it wasn't until I saw costume swatch samples that I began to realize a vantage point for choosing the color palette. Tentative fabrics for costumes were vibrant, but stayed away from primary colors. I'd found the solution I was seeking for the overall approach to the lighting for the production.

Chicago is an anti-hero musical. Traditional musicals have likeable protagonists, Chicago has none. Traditional musicals affirm all-American values, Chicago is cynical. Characters are expected to fall in love in musicals; in Chicago, they're murdered. Wrong-doers are expected to be punished, in Chicago they go free.

The lighting approach to a musical that "razzle dazzles" the audience with unexpected mocking, almost insulting candor was to paint the stage with rich color, but in shades not typically associated with musicals. In effect, I turned the color wheel so it was still possible to mix vibrant variations of warm and cool white light, but by using various saturations of magenta, teal, indigo and chocolate.

Changes in locale were swiftly delineated with projected patterns. Billy's office and court room included projected window patterns. The cell block scenes incorporated projected jail bars, and stylized steel girder patterns were projected before and after acts to enhance the steel motif in the scenery.

Two follow spots, chase lights, two color washes on the piano keyboard portal, and three color washes on the rear cyc helped create the spectacle required of the big dance numbers. Working closely with the director, specials were added for various tabloid scenes, including a narrow trough of white light for the news reporters freeze.