NEW YORK — The fierce and bold character of Roxie Hart is central to the enduring Broadway classic “Chicago.” Yet, no single performer can claim ownership of her. Instead, Roxie is part of a diverse group of artists unified by their shared experience of slipping into a bowler hat and stepping onto the stage.

This ensemble includes musical theater professionals who may not be well-known, performers who have gained some notoriety without extensive stage experience, and those on the verge of stardom or aiming to reclaim it. Since the revival began in 1996, the list of actors to take on the role of Roxie has featured a variety of names such as Brooke Shields, Mel B, Lisa Rinna, Ashlee Simpson, Angelica Ross from “Pose,” and Ariana Madix, known for “Vanderpump Rules.”

Barry Weissler, a lead producer of the show, emphasizes the unique nature of “Chicago,” stating, “It welcomes people constantly. There’s never a locked door where we’re concerned.” Roxie is not a charming character; her narrative begins with her killing her lover and persuading her dimwitted husband to take the fall. Her insatiable thirst for fame leads her to form an alliance with rival Velma in a bid for notoriety. The revival’s remarkable longevity can, in part, be attributed to its frequent casting of celebrities in a story centered on the shallow allure of fame.

“While we critique celebrity culture and its glorification, the show itself participates in this glorification,” notes choreographer Greg Butler, who prepares actors in Los Angeles. Though celebrities may shine in the spotlight, they still have to deliver a compelling performance. So how does “Chicago” transform a reality TV star into Roxie?

Step one is identifying potential Roxies. Casting director Duncan Stewart regularly invests $400 in a selection of magazines, including titles like Ebony, People, and Variety, which he distributes to his team. He instructs them, “There are no bad ideas. Circle everyone from these magazines and write ‘Roxie,’ ‘Velma,’ ‘Billy,’ ‘Amos,’ ‘Mama’ next to their names.” These names are then compiled into a spreadsheet, scored from one to five, based on their suitability for the role.

In the second step, Stewart highlights the allure of the role and the ease of negotiations, saying, “You don’t have to dress up as a spoon or a fork…you can secure your Broadway legacy in almost two months.” While some celebrities deliberate for years before committing, others might sign up within days, often motivated by personal milestones or professional shifts. “They need some way of saying to the world, ‘I’m worthy. I can prove my mettle,’” Stewart explains.

Following that, the training phase—referred to as Roxie’s boot camp—focuses on meeting performers at their current skill level. Butler, who has been associated with the show since 2005, emphasizes that his job is to help aspiring Roxies tap into their own experiences with celebrity culture. He adapts choreography to suit individual strengths, drawing on the original work by Ann Reinking, who led the 1996 revival.

In the next phase, every Roxie must learn her lines, sing, and navigate a ladder in heels. Interestingly, while the role features two major numbers—“Funny Honey” and “Roxie”—it is less physically demanding than that of her counterpart, Velma. Director Walter Bobbie emphasizes the importance of providing a supportive environment for celebrities, ensuring they are surrounded by experienced Broadway professionals. “Roxie can simply stand there and seven men will adore her,” Bobbie remarks.

When Melora Hardin made her Broadway debut in late 2008, she recalls that the audience appeared to be more captivated by her somersault than her dance choreography. The final step involves preparing for the stage, where the production team adapts costumes to reflect the individual star’s persona, such as incorporating elements reminiscent of Pamela Anderson’s iconic “Baywatch” look.

Bobbie encourages performers to find their unique interpretation of Roxie, saying, “I want you to find the Roxie in yourself.” Despite challenges such as recessions, natural disasters, and a global pandemic, “Chicago” has flourished with over 11,000 performances, solidifying its place as the second longest-running show in Broadway history. Bobbie dismisses criticisms that label the constant influx of new performers as gimmicky, insisting, “There’s an authenticity to it.” He underscores that “Chicago” differs from typical narratives, humorously stating, “The girl gets the girl,” framing the story as one of show business romance.

This narrative has been corrected to clarify that Jinkx Monsoon did not play Roxie but portrayed Matron “Mama” Morton.