Ringling Bros and Barnum & Bailey Circusofficially announces today that they are eliminating elephant acts from their shows and all elephants will be relocated to their Center for Elephant Conservation.
The circus plans to phase out elephant acts by 2018. Their 43 elephants will live at the company’s 200-acre Center for Elephant Conservation in central Florida. Twenty-nine animals are already there, and the other 14 will arrive as they are phased out from the circus. Elephant acts have been showcased by Ringling Bros for more than a century.
Pictured is Gwen Verdon backstage as Charity Hope Valentine during the original Broadway “musical smash” hit Sweet Charityconceived, staged and choreographed by Bob Fosse at the Palace Theatre. Charity is showing a brassiere shoulder strap and wearing a light colored terry cloth robe with noted Broadway Stage Manager Paul Phillips in foreground. The provided 1967 news-wire corresponding press caption does not use the word tattoo, it is described as a “heart painted on her arm” by Phillips. The top center left shoulder hand painted single arrowed heart reads the name of her no good boyfriend “CHARLIE” appearing in Central Park New York City during Scene One, Act I.
Overview image of Bob Fosse’s fifth bestowed nickel patina Tony Award medallion reading: “The American Theatre Wing presents to Bob Fosse, Choreographer For Distinguished Achievement in Theatre, “Sweet Charity”, 1965-66.”
Measuring 3 inches in diameter, mounted on a custom square presentation wall display with black velvet fabric surround. Continue reading →
Featuring the ten original Sweet Charity girls of the Fan-Dango Ballroom where Charity Hope Valentine works a taxi dancer in the Times Square theater district of New York City. Dancers pictured in colorful full stage costume during celebrated musical number “Big Spender” from Act I, Scene 3 with Helene Gallagher, Thelma Oliver and the Fan-Dango girls. Continue reading →
This summer the The Fosse Master Class Series was honored to have the one and only Louise Quick teach “The Manson Trio” from Bob Fosse’s original production of Pippin. Louise worked with Fosse in pre-production on all the dance numbers for that show. She later went on to London with Gene Foote to stage that production of Pippin.
Louise, a Broadway veteran, started her career in the chorus of Bye Bye Birdie. She was a replacement in the original production of Sweet Charityand went on to assist Fosse and dance in the movie version. She was also in the movie Cabaret, as well as, assisting Fosse on the award winning television special Liza with a Z.
Louise is an inspiration to anyone that meets her and was a true champion for the Verdon Fosse Estate from inception.
We honor her here with a video clip of Louise Quick, Dana Moore, Lloyd Culbreath, and the participants of The June Fosse Master Class Series working on one of Fosse’s most famous trios.
Broadway World sat down with Broadway veterans, Lloyd Culbreath (DANCIN;’ BIG DEAL; SOPHISTICATED LADIES; THE TAP DANCE KID; HONKY TONK NIGHTS; ANYTHING GOES; GUYS AND DOLLS; CHITA RIVERA: THE DANCER’S LIFE; NO STRINGS, Encores; HOUSE OF FLOWERS, Encores; CARNIVAL, Encores; PROMISES, PROMISES, Encores; MAN OF LA MANCHA, Asst. Choreo.; ON THE TOWN, Asst. Choreo.) and Valarie Pettiford (TV/Film actress; CHICAGO, as Velma, London with Chita Rivera; SHOW BOAT Revival Tour, Julie; 30th Anniversary Tour of WEST SIDE STORY, Anita; SOPHISTICATED LADIES; GRIND; BIG DEAL; FOSSE, Tony Nominee), to discuss their efforts to preserve Bob Fosse’s legendary choreography for the next generation of dancers. The pair held an exclusive Fosse Workshop in early February and invited fifty professional dancers to learn the signature style and articulation of Fosse choreography. Nicole Fosse, the Director and Artistic Advisor for the Verdon Fosse Estate, remarked, “I want this current generation of working dancers to get the best possible people teaching them my father’s material. There are so many false impressions out there of what my father’s style and technique is…By using Estate sanctioned teachers, I feel a new generation of dancers will have a much cleaner understanding of performing Fosse material.” Continue reading →