Robert Louis Fosse was born on this day (June 23rd), 1927. Growing up in Chicago, young Bob Fosse was obsessed with Fred Astaire, the king of Hollywood’s Golden Age of movie musicals. As a boy Fosse would watch his famous films and try to imitate not only Astaire’s tapping feet, but also his debonair style and enchanting charm. At age twenty-five, Fosse landed his own contract with Hollywood’s MGM studios as a dancer in movies such as Kiss Me, Kate, Give A Girl A Break, and The Affairs of Dobie Gillis. One day Fred Astaire bumped into Fosse while on the MGM set. Astaire politely introduced himself and, before walking away, casually kicked a nail that was lying on the ground, causing it to ricochet in an intricate pattern that simply mesmerized Fosse. After Astaire left, Fosse recovered that nail and worked for hours to reenact its choreography—with the same ease and grace of Astaire.
But Bob Fosse certainly didn’t always stand in the shadows of Fred Astaire; he went on to revolutionize American theatre dance. His blend of awesome sensuality, clever humor, cinematic insight, popular references, and a hint of cynicism made musical theatre contemporary, consumable, and controversial. Fosse was one of the greatest dance visionaries of the 20th century. He directed and choreographed over twenty-three films and Broadway musicals and won four Oscars and eight Tony Awards (more than any other choreographer). Additionally, Fosse is the only person ever to have won the “Triple Crown:” a Tony for Pippin, an Oscar for Cabaret, and an Emmy for Liza Minnelli’s television concert, Liza with a ‘Z’—all in 1973.
Today, the signature style of bowler hats, turned-in toes, and stooped shoulders is universally recognized simply as “Fosse.” His innovative, internalized, character-driven style helped define a new vernacular in the art of American Musical Theatre, making “Fosse” a renowned genre of dance all its own. Bob Fosse’s legacy lives on onstage in musicals such as Chicago and Sweet Charity, in pop culture references and inspiration, and through Fosse Master Classes produced by The Verdon Fosse Legacy LLC.
Legendary heavyweight champion, Muhammad Ali, died Friday at the age of 74. Bob Fosse was inspired by the brute athleticism and regal artistry of boxing, and he and Gwen attended many of Ali’s big fights together—in a tux and gown, no less! Below is a clip of “The Heavyweight” from the film of “Sweet Charity.” Notice the boxing influences, sounds, movements, and metaphors so masterfully choreographed into the piece.
American Dance Machine performs “Rich Man’s Frug” from SWEET CHARITY
Sunday marked the 30th anniversary of the opening night of Bob Fosse’s final Broadway production, BIG DEAL (4/10/86). Set in 1930s Chicago, the show follows a group of African-American men who attempt to rob a pawn shop (based on Mario Monicelli’s 1958 film “Big Deal on Madonna Street”). The show features some of Fosse’s iconic numbers such as “Dancin’ Dan (Me and My Shadow),” “Life is Just a Bowl of Cherries,” and “Beat Me Daddy Eight to the Bar.”
While the production closed in just under two months, Frank Rich quoted “[At the end of Act 1,] Mr. Fosse makes an audience remember what is (and has been) missing from virtually every other musical in town. The number is set to the old song ”Beat Me Daddy Eight to the Bar,” and it unfolds in a Chicago ballroom of the 1930’s called (need I tell you?) Paradise. There’s a big band on a platform, and, somewhere in the blackness below, are two song-and-dance men (the frisky Bruce Anthony Davis and Wayne Cilento) slithering in flickering silver light. The men’s shoulders start to roll, their elbows sharpen, their hands hang limp even as the rest of their bodies gyrate at hard angles. And, just as these gentlemen seem to have merged with the high notes blared by the raucous horns above them, they are joined by a large chorus of bubbly revelers, who, by crossing the stage on a jagged diagonal, somehow manage to liberate both the show and the audience from conventional burdens of time, space and care” (“Theater: BIG DEAL from Bob Fosse,” NY Times).
Pictured above is Bob Fosse in rehearsal at the Minskoff Rehearsal Studios with the cast of BIG DEAL (3/31/86).
Celebrate with us today the 56th wedding anniversary of bride Gwen Verdon and groom Bob Fosse married on April 3rd 1960!
In the early spring of 1960 while their Broadway show ”Redhead” was on tour in Fosse’s home city of Chicago, Gwen Verdon and Bob Fosse married, and by the time the tour reached Los Angeles, Verdon decided to retire from show business with the intention of concentrating on family life. In 1963 their daughter, Nicole, was born.
Pictured is undated self Polaroid camera portrait from the Verdon Fosse Legacy archives, appears to be from the early 1960s, measuring 3 by 4 inches overall.
Ray Walston, Robert Shafer, and Shannon Bolin in the 1958 film “Damn Yankees”
The Verdon Fosse Legacy mourns the death of Shannon Bolin (1/1/17-3/25/16). Bolin starred as Meg (wife of Joe Boyd) in the original 1955 Broadway production of DAMN YANKEES and revived the role in the 1958 film version.
Last Wednesday Dancers over 40 hosted “All That Verdon! All That Fosse!” and it was a truly spectacular evening. We’d like to extend our thanks to all of the panelists for sharing their stories, questions, discussions, video clips, and talents and for celebrating and promoting the legacy of Gwen Verdon and Bob Fosse. Thank you also, of course, to John Sefakis and Dancers over 40 for making the event possible and to Nel Shelby Productions for videography and film editing. It takes a village to keep a legacy alive. And this event proved that the legacy is alive and kicking!
Dana Moore, Lloyd Culbreath, and Valarie Pettiford
Pam Sousa, Nicole Fosse, Gene Foote, Kathryn Doby, and Diane Laurenson
Ken Urmston, John Sefakis, Dick Korthaze, Harvey Evans, and George Marcy
On March 23rd Dancers over 40 will be hosting an evening entitled “All That Verdon! All That Fosse!” The event will focus on the past, present, and future of the Verdon Fosse Legacy. Panelists include Nicole Fosse, Lloyd Culbreath, Kathryn Doby, Harvey Evans, Gene Foote, Richard Korthaze, Diane Laurenson, George Marcy, Dana Moore, Valarie Pettiford, Mimi Quillin, Pam Sousa, Ken Urmston. A few of our master class students will discuss their participation and experience learning and reconstructing Bob’s choreography. Finally, authors Kevin Winkler and John Gilvey will discuss their respective books-in-progress, Big Deal: Bob Fosse and Dance in the American Musical and Brains and Talent: The Life and Allure of Legendary Entertainer Gwen Verdon.
“All That Verdon! All That Fosse!” is sure to be a spectacular event of talent, story-telling, video clips, and special performances. Thank you to John Sefakis and Dancers over 40 for helping to organize and orchestrate this evening.
“All That Verdon! All That Fosse!” will take place Wednesday, March 23rd at 7pm at St. Luke’s Theatre (308 W. 46th Street). For tickets, visit www.telecharge.com.
Today we celebrate the half century anniversary of Tony Award winning American musical Sweet Charity.
In January 1966, The Nederlanders turned New York City’s famed Palace Theatre into a legitimate theatrical stage for the opening of Sweet Charity conceived, staged and choreographed by Bob Fosse starring Gwen Verdon.
Gwen Verdon played the title role of Charity Hope Valentine, a taxi dancer at a dance hall called the “Fan-Dango Ballroom” in Times Square, New York City.
Please join Verdon Fosse Legacy Wednesday, January 20, 7pm at the All That Jack (Cole) MOMA film series for a screening of On the Riviera with introduction by Nicole Fosse.
On the Riviera, 1951 starring Danny Kaye, Gene Tierney, Corinne Calvet, and Gwen Verdon. 89 min.
Though unbilled in the main credits, Cole protégée Gwen Verdon features prominently in this dance-rich Fox Technicolor movie, as she leads nominal star Danny Kaye on a world-dance tour that includes Cole’s signature version of Hindu jazz in “Rhythm of a New Romance.” Cole’s dark side surfaces in the creepy, pseudo-whimsical “Popo the Puppet.” As Busby Berkeley had done 20 years earlier, Cole completely commandeers the mise en scène from the mediocre director of record for an amazing finale, aptly titled “Happy Ending.”