Function Order: Se-Fi-Te-Ni

 “And then I started foolin’ around… and then I started screwin‘ around, which is foolin’ around without dinner.”

— Roxie Hart

Roxie takes everything at face value until she learns how to play the system—she assumes the guy who is sleeping with her told the truth that he can get her into show business, and it takes him being abusive before she realizes the truth. She immediately grabs a gun and shoots him to death, then tries to get her husband to take the fall for her. In prison, she does whatever she can to get ahead, including doing Velma’s laundry hopeful for favors. When the papers stop taking an interest in her in favor of other more recent murderesses, Roxie faints and pretends she is pregnant, drawing attention to her unborn child to gain publicity and public sympathy. At her trial, she plays up the angle of a simple housewife while flashing the jury some subtle skin and making sure to show off her garters with a tasteful faint. Roxie can be unapologetic in her quest for love and fame, and assumes wrongly that her attorney is going to do it for “love” and not for money. She is oblivious to her husband’s feelings and only agrees to perform with Velma at the end for the ‘dough’ they are going to rake in together (there’s only one business where hating each other doesn’t matter). She is often emotionally naïve, vulnerable, and self-absorbed.

Enneagram: 3w2 so/sx

Roxie is all about fame. She turns every conversation she has, even internal musings, into grand, show-stopping public performances where crows rave and applaud over her wit and musical talent. Even as a “two bit nobody,” she is dreaming of being on the stage and quite sure she’s worth a thousand a week. It takes her no time at all to adapt to the prison and figure out how things work, and then play it to her advantage. She collects newspaper clippings that mention her, even in jail, and is angry at the conclusion of her trial because nobody wants to take her picture – she has become, within minutes, a “has-been” murderess. She is too proud to accept Velma’s offer at first, and arrogant to her in the prison, sneering at her proposed act and telling her to lay off the chocolates (because she’s getting fat). Many of Roxie’s songs are about love, how she loves her audience, and they love her, and she expects to do “favors” in exchange for things—a trade system of money, sex, fame, and profit.