We had an incredible month of master classes at Steps on Broadway with Legacy-sanctioned reconstructeurs including Lloyd Culbreath, Dana Moore, Mimi Quillin, Mary Ann Lamb, Shannon Lewis, Spence Ford, Elizabeth Parkinson, and proteges, Alyssa Epstein and Michael McArthur. Here are some highlights from the classes:
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The Verdon Fosse Legacy held another wonderful week of Fosse master classes at Steps on Broadway earlier this month. Classes were taught by Fosse veterans: Spence Ford, Mimi Quillin, and Stephanie Pope. Take a look at some photos and a short video clip from Stephanie’s class:
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Linda Haberman taught a sold-out FOSSE Work Session at Steps on Broadway. Haberman served as assistant choreographer for Bob Fosse’s last original musical, BIG DEAL, and also performed in DANCIN’ and PIPPIN. Check out a short video clip from class (“Beat Me Daddy” from BIG DEAL).
Verdon Fosse Legacy reconstructeur, Lloyd Culbreath, set “Bye, Bye Blackbird” on the dancers of Steps on Broadway’s first ever Summer Theatre Dance Intensive. The piece, originally from “Liza with a Z,” was performed at the contemporary dance showcase in Bryant Park and at the students’ final concert at Steps.
“The program had many international students,” said Culbreath. “It was exciting to bring Mr. Fosse’s work to young people from around the globe.”
The Verdon Fosse Legacy was invited to reconstruct “I Wanna Be A Dancin’ Man” on the pre-professional students of the Steps on Broadway Conservatory Program. Veteran Fosse dancer and Legacy-sanctioned reconstructeur, Lloyd Culbreath, taught the piece with the help of his assistant, Marissa Calabrese, and vocal coach, Jan Horvath (also a veteran Fosse performer).
Steps on Broadway Conservatory performs “I Wanna Be A Dancin’ Man” (photo: Eduardo Patino)
Bob Fosse choreographed “I Wanna Be A Dancin’ Man” as a tribute to his own personal dance icon, Fred Astaire. As the Act II opener from 1978’s musical revue, DANCIN,’ “Dancin’ Man” honors the charm and elegance of Astaire and celebrates the golden age of the Hollywood musical. But the ensemble production number also highlights a poignant, universal sentiment that lies at the heart of every dancer—despite all of the sacrifices (physical, emotional, professional), the dancer loves to Continue reading →