Broadway Games: Name That Show! Hirschfeld: The Bob Fosse Edition

We were so fortunate to be around the theater scene when Broadway caricaturist Al Hirschfeld was alive and working. I remember checking out the Sunday New York Times any time a new show was about to open. His art accompanied many an article about the latest plays and musicals. It always amazed me how a few simple lines could capture not only the actors, but the essence of their performance and the show itself. 

This week's game is in honor of Mr. Fosse's 97th birthday last week!

Broadway Games:

Name That Show! 

Hirschfeld: Bob Fosse Edition

Here are Hirschfeld prints from several of Bob Fosse's shows. Can you name the show being portrayed?

1.

2.

3.

4.

5.

Bonus:

(If you know this one, you must be a Fosse expert!)

 

2022 - 2023 Logos: Dancin' and Parade

2022 - 2023 Logos: 

Dancin' and Parade

We've covered almost all of the logos of all the shows we have seen or will be seeing from this season. Today, we take a closer look at the show art from the last two musical revivals.

Bob Fosse's Dancin'

  

  

The color scheme of a deep blue against a black background is perfect, given the production's now-iconic finale, which features the title in giant letters, bathed in deep blue lighting. Just before that happens, each cast member takes a bow with their names in blue lights across the stage-wide black video screen. The title, in a bold font, also matches that moment in a way, but really the bold lettering is bold, just like Fosse's dance moves.

The top iteration of the full key art above is reminiscent of that curtain call, beautifully recreating signature Fosse poses, as the dancers do at the end. Just as wonderful, is how it spotlights the uniqueness of each individual, something not only well-deserved, but in keeping with the master's vision of his choreography. Another tenet of the style is the synchronicity of the whole company. The Playbill covers celebrate the cast as one, creating an array of Fosse signature arms, legs and hands. It's interesting to note that so far each month of the run a different dancer is featured in front. (Dear Playbill: Maybe you could sell each one...?)

I think the campaign perfectly captures the spirit of the production and the man behind the moves.

Grade: A+

Parade 

   

This show art is a little bit of an enigma, but in a good way. Though you need to see the show to fully (or at least get you started) understand the title. So a relatively plain, but bold title might temper expectations that this will be a breezy romp about a parade. The burnished gold color used on the title, as well as the metallic grey/silver used for the credits suggests a historic memorial, like maybe a plaque or statue. It also fits the color scheme of the rest of the image.

It is also a lovely tribute to the Franks, here forever memorialized in early 20th century garb, with an empty, yet monolithic factory - scene of the tragic events of the show. It also works to showcase the stars of the show, who are clearly a draw for audiences. Perhaps it works particularly well because it divorces both from their prior, iconic star turns in Dear Even Hansen and The Cher Show. In other words, Ben and Micaela fans, you aren't getting a rehash. You are getting grown-up, mature performances.

Side note: People Magazine ran some exclusive photos, including the one to the left. It is clearly the same photo used in the current campaign, only with a different - though still factory-ish - background. The sepia toned photo even further adds to the whole historic importance of the piece. Using full color as they chose, does actually add a certain "modern" connection. The story is, unfortunately, as resonant in the 21st century as it was when these events happened more than a century ago.

Grade: A+

REVIEW: Bob Fosse's Dancin'

Review of the matinee performance on Sunday, April 2, 2023 at the Music Box Theatre in New York City. Original Broadway production created, directed and choreographed by Bob Fosse. Starring Ioana Alfonso, Yeman Brown, Peter John Chursin, Dylis Croman, Tony d'Alelio, Jovan Dansberry, Karli Dinardo, Jacob Guzman, Manuel Herrera, Kolton Krouse, Mattie Love, Krystal Mackie, Nando Morland, Khori Michelle Petinaud, Ida Saki and Ron Todorowski. Voiceover by Bob Fosse. Scenic design by Robert Brill. Costume design by Reid Bartelme and Harriet Jung. Lighting design by David Grill. Sound design by Peter Hylenski. Video design by Finn Ross. Reproduction of Mr. Fosse's choreography by Christine Colby Jacques. Additional choreographic reproduction by Corinne McFadden Herrera. Choreography by Bob Fosse. Direction and musical staging by Wayne Cilento. 2 hours, 15 minutes, including one intermission.

Grade: A 

Much in the way Sondheim has always shaped my love for the possibilities of content and character development in musicals, so too has Bob Fosse influenced my aesthetic preferences for shows. Dark edges, complex psychology, and unique body placement are his tools to convey character, motivation and storytelling. Dancers who perform his work are a special group - they work to not only perform his choreography, but to understand it, from the broadest leap to the tiniest finger twirl in isolation. And from that, they share with the world the joy of the art form. The recently opened revival of Dancin' is a sexy, razzle-dazzling reminder of the man and his brilliant legacy.

I saw the original production on tour back in the early 80's, my first brush with seeing Fosse moves performed live. It was a life-changing experience for me. From that moment, I devoured everything I could get my hands on related to him, his shows and his dancers (no small feat, pre-internet). And so, a little bit of me was worried that this revival would, in some way, disappoint or mar my memories of the revue. Turns out, I worried for nothing.

Original cast member and Tony-nominated for his efforts then, Wayne Cilento, directs and stages this re-do with a knowledgeable and loving hand. His affection and reverence for his mentor are clear from the moment the first dancer makes his way downstage, back lit to emphasize his movement first, blending into a spotlight to reveal the complete human. Not a single dance step has yet happened and Cilento has made the production's intentions crystal clear. He has worked closely with Christine Colby Jacques, Corinne McFadden Herrera and Lauren Cannon to re-create and reproduce Mr. Fosse's original work. All involved have taken on a monumental task, and have done so brilliantly.

Though all of the moves - from the jaunty splayed fingers at the brim of a straw hat to the cocky, disinterested bent heads and hip isolations - are here and meticulously performed, as any Fosse fan knows, each dancer's individuality is to be celebrated, as well. Mr. Cilento has gathered a gifted company that has mastered the technique and demands of unison, while embracing each member's singular vibe. To that end, several members of the company stand out. As the principal dancer in the "Big City Mime" section of Act One, Peter John Chursin exudes an energy that makes his transition from small town rube to street smart city boy not only believable but dazzling. Within that sequence (and several others throughout), Dylis Croman draws the audience in with her sleek moves and clear, easy sense of humor. She's particularly wonderful in the deconstruction of "Here You Come Again" number. Other stand outs include two dancers making their Broadway debuts, Mattie Love and Tony d'Alelio, veteran singer/dancer Manuel Herrera (the original Chistery in Wicked), and Jacob Guzman.

The beauty of this Dancin' update is its inclusiveness, which I'm sure Fosse himself would fully endorse. No company member better represents this than the positively glowing Kolton Krouse, openly non-binary and luminous in every number they are in. You can feel the joy they are feeling as they infuse a playful energy in the Cabaret-adjacent "Spring Chicken" number. And, in the "Sing Sing Sing" solo made famous by Ann Reinking, Krouse powerfully commands the stage with an exhilarating free abandon. Simply beautiful.

Finally, in a major update to the show, Cilento has added a significant section that reproduces portions of Fosse's Tony-winning final original work, Big Deal. What an opportunity for all musical theater fans! Chanteuse Khori Michelle Petinaud makes a meal out of "Life Is Just a Bowl of Cherries," while Tony d'Alelio and Nando Morland pretty much stop the show with their glorious moves in "Beat Me Daddy, Eight to the Bar."

As terrific as this update is, not all of updates are as successful. Aside from its excellent use in the curtain call, Finn Ross' video projections are more often a distraction than a nice supplement to the staging. More than once, they took me out of the moment, and twice made me a little dizzy. Robert Brill's set design consists of largely utilitarian moving light towers with stairs and platforms. Not remarkable, but fitting for a show that is just dancin'. Finally, Reid Bartelme and Harriet Jung's costume designs are mostly modern updates, concentrating on letting us see the dancers' bodies clearly. That said, a few scenes feature unattractive-to-the-point-of-distracting costumes.

The real glory of this accomplished revival is that a whole new generation of theater fans can see first-hand the important, historic contribution to musicals by one of the greatest choreographer-directors ever to grace Broadway.

📸: J. Cervantes

One That Got Away: Bob Fosse's Big Deal

After spending a lot of time looking back at 300 different Broadway shows, and feeling so grateful for every single one of them, I also started thinking about shows I missed. It seems... I don't know... selfish? I am so fortunate to be able to indulge in my passion regularly, and yet I'd love to have seen so much more. At any rate, here's a start to a new occasional series about those I missed. Here's One That Got Away.

So the inaugural edition comes from already missing Fosse/Verdon. (The is a safe space, readers. We can all admit we are mourning its end...) I was actively attending theatre regularly in the mid-80's, and in fact, was obsessing over another Bob Fosse show I had just seen - the revival of Sweet Charity. Two and a half weeks after that opened, so did Big Deal. I still kick myself over missing it. Somewhere, I have a VHS tape of the 1986 Tony Awards, which featured a scene from that show. (Mom, if you are reading this would you please look for my tapes?)



Big Deal Production Information and Stats:

• Book by Bob Fosse (Based on the film "Big Deal on Madonna Street")
• Music/Lyrics by various artists
• Scenic Design by Peter Larkin
• Costume Design by Patricia Zipprodt
• Lighting Design by Jules Fisher
• Dance Captain - Valarie Pettiford
• Assistant Choreographer - Christopher Chadman
• Direction and Choreography by Bob Fosse

• 1st Preview: April 1, 1986
• Opening Night: April 10, 1986
• Closing Night: June 8, 1986
• 8 previews, 69 performances

Why am I disappointed that I missed this one? Well, Bob Fosse. I love his work, his aesthetic, his style. And, of course, in retrospect, it was his last show. It is a small consolation that a small piece of it made it into Fosse. Needless to say, I did not miss that show.

Did you see Big Deal? Let me know!  I'd love to chat with you about it.

#2092

Fosse/Verdon: Episodes 7 - 8

Sure, it was soapy, but the musical theater nerd and Bob Fosse fanatic in me loved every single minute of the miniseries Fosse/Verdon. And I am sad to see it go. I'll especially going to miss watching the marvel that is Michelle Williams, who better get an Emmy for her efforts. Hers a performance far beyond a mimicry of the beloved Tony winner, but rather a fully realized character. Also - it is time for her to return to Broadway, in a musical, please.

And so, here are a few thoughts on the last two episodes.

EPISODE 7: "Nowadays"
The episode every fan of Chicago has been waiting for! Interesting to watch (however compressed events were for dramatic effect) how Gwen got her way in finally getting the show on, and how Fosse punished her for "forcing" him to do it after years of badgering him about it. That cycle of satisfaction for one/pain for the other - a common theme in their relationship, apparently - is perfectly encapsulated, as he takes away dance steps in "We Both Reached For the Gun," (featuring a terrific Tyler Hanes as Jerry Orbach.  And later how he kicks her when she's down - hiring Liza Minnelli to replace her while she was out of the show. The wordless scene of Williams returning to her dressing room, tearing a note from Liza off her mirror and just staring at herself was beautifully understated.

Best sequence of the episode: Kander, Ebb, Rivera (an exquisite Bianca Marroquin), Fosse and Verdon gathered around the piano in the 46th Street Theatre lobby, with Gwen singing a wonderful solo version of "Nowadays." After an argument, Fosse tells her it will be a duet, and she really lets him have it. You go, Gwen!

Also, I love, love, loved the recreation of the original Chicago sets by Tony Walton and Jules Fisher's lighting design. I never realized how much I missed color in that show!

EPISODE 8: "Providence"
Just as it began, so did it end, with Sweet Charity. This time, it's the '86 revival/'87 national tour, but the roles are the same. Bob is a taskmaster perfectionist, and only Gwen can get it right. But before that, we saw the making of All That Jazz, hurtfully copying a cherished memory for his daughter, and humiliating his ex-lover. As the show guided us toward its inevitable conclusion, we see lives in turmoil and lots of unhappiness. Friends die, lovers leave and start families far away. And a daughter descends into the abyss of addiction, unchecked, it would seem, by either parent.

Best sequences of the final episode: When Nicole joins her dad in choreographing "Mr. Bojangles," and that same sequence played out with a young actress and Roy Scheider  (cameo by Lin-Manuel Miranda, of course...). Then there's the recreation  of the "Bye Bye Love" scene from All That Jazz, where Bob does a take at the urging of his cast.

The final moment, when Bob dies in Gwen's arms is as poignant as it is touching. Michelle Williams and Sam Rockwell do wonderful work here. A great ending to a wonderful miniseries.

#2087

FOSSE/VERDON: Episodes 4 - 6

Bob Fosse, Nicole Fosse and Gwen Verdon

As the FX miniseries Fosse/Verdon continues, I admire the show more and more, and I am completely smitten with the brilliant Michelle Williams. I've always been a big fan of Bob Fosse - I think of him in the same terms as Stephen Sondheim, which is to say I think he was a genius who was way ahead of his time. Challenging expectations, boundaries and decency was his stock in trade. All one needs to do is look at the revival of Chicago to see that he did all that before anyone else did, and his work (and that of his protege, Ann Reinking) is as relevant today as ever, if not more so.

These next three episodes are definitely more Fosse-centric. SPOILERS AHEAD.

EPISODE 4: "Glory"
So far, this is my favorite episode. Both the story's drama and theatrical presentation are exciting, as life parallels art. The art is the making of one of my favorite shows, Pippin, with an emphasis on the creation of the signature "Manson Trio" section of "Glory." It is also our first glimpse of Ann Reinking (a striking Margaret Qualley), and a pretty blunt examination of Bob's womanizing, drinking, drugging and fornicating. All of this is set against the pinnacle of his career - 1973, year of 1 Oscar, 2 Tonys and 3 Emmys. Talk about glory... But, as is often the case, all of the accolades aren't enough, and depression and thoughts of suicide ensue.

The best sequence of the episode is the end, when Pippin's grand finale turns into Fosse's. It is thrilling and chilling. And I'll never look at Pippin the same way again.

EPISODE 5: "Where Am I Going?"
Fresh out of the psych ward and putting up a massive front, Fosse has gathered friends and family to the Hamptons for a getaway weekend. Under the guise of a healing vacation for a mourning Neil Simon (the terrific and underused Nick Corddry), it soon turns into an intervention, with Bob's wife and mistress arguing for him to slow down, and his best friends, Simon and Paddy Chayefsky (a wonderful turn by Norbert Leo Butz) resigned to the fact that Bobby will do what Bobby wants regardless of the consequences.

Best sequence of the episode... there are actually three: Gwen's soliloquy about why making a movie is bad for his health, but doing her project, Chicago, is just what the doctor ordered. Then there's the delicious exchange between Gwen and Ann who make up and join forces to keep an eye on their guy. And finally, when Williams delivers a beautiful "Where Am I Going?' from Sweet Charity. I love how these songs are inserted throughout to inform the story and characters, fitting in pretty perfectly without changing a word.

EPISODE 6: "All I Care About Is Love"
This time around, the story is told through the concept of the film "Lenny." (It also reminds me a lot of All That Jazz, which makes sense.) Several sequences of time-jumping fast film cuts reveal a lot about what makes Fosse the mess of a man that he was. With child sex abuse, a rotten father and ridiculous mother, and many people in his life telling him "no" and that he's not good enough all far outweighing the positives, it is really no wonder. We also get to see the complexity of the Fosse-Verdon-Reinking relationship - confusing for the child caught in the middle, and both women, especially Reinking, who is realizing she's the one offering a get well lay, and still has to sit out in the hallway waiting.

Best sequence of the episode - the saga of Chicago's first rehearsal, including "All That Jazz" choreography and Chita Rivera (Bianca Marroquin), all leading up to Bob's showstopping heart attack. You read about it, but seeing it plated out is something different altogether!

#2078

Fosse/Verdon: The First 3 Episodes

WARNING: THIS ARTICLE CONTAINS SPOILERS FOR THE FIRST THREE EPISODES OF THE SERIES.

I've had a thing for Bob Fosse and Gwen Verdon since almost the beginning of my lifelong love of musical theater. It all started with a framed copy of the original Broadway poster from Sweet Charity, a gift to my high school drama director from the cast of their production of the same show a couple of years before I arrived. I was so taken by the pose of Verdon - hip strut, knee bend, flexed foot...and the look on her face. I was smitten and had the cast recording the first Saturday after I saw it. Then we did Pippin. Immersed in the Fosse frame of mind, practicing our best jazz hands, life was all about The Manson Trio for 4 months.

So, you can imagine my reaction when Fosse/Verdon was announced. "Fan girling" doesn't even come close. So far, I'm happy to say I am thrilled with the result. Where to start?

EPISODE #1: "Life is a Cabaret"
The nonlinear presentation of events heightens the drama and relieves the series of the burden of a documentary feel. Instead, while we see events depicted, Bobby and Gwen (and their host of famous friends and conquests) are treated like characters. In that sense, knowing anything at all about the subject isn't a requirement. That said, I can't imagine people not already interested in musicals, musical films or musical stars would enjoy this. Even so, there is a nice balance between plot and insider/meta moments. Of course, I loved the passing comment from Hal Prince about Company. And seeing them function in real world settings with the likes of Neil Simon and Cy Feuer is a treat for the theater geek in me.

Knowing that Fosse was a highly sexual, meticulous bastard of a genius who cheated on Verdon is one thing. Seeing it played out is another - and I don't mean in that All That Jazz kind of way. Somehow, even knowing this is a fictionalized/autobiographical hybrid, it fills in a lot of the blanks. As portrayed here, he's not really a bad guy - a bastard, sure, but not totally bad; she is not a victim exactly, either - I pity her, sure, but I admire her strength.

My favorite sequence has to be the entirety of the Cabaret filming of "Mein Heir," especially given Kelli Barrett's dynamic performance as Liza Minnelli. I also got a kick out of the canning of a dancer during the "filming" of Sweet Charity's "Big Spender."

EPISODE #2: "Who's Got the Pain?"
Here we see the juxtaposition of their break up with their first meeting over Damn Yankees. This works especially well with the "rehearsal" of the cat and mouse game that is "Whatever Lola Wants" paired with his seduction of her, and again when they get "stuck" and create "Who's Got the Pain?," a rather pointed parallel with their marital struggles. It works beautifully.  It's also a great way to introduce a recurring theme in his work and his life - using his signature style to save that day after a deep dive into self-loathing and paralyzing insecurity.

Of course, the evolution of this number is excellently recreated, and I know I'll never hear or see it the same way again.

EPISODE #3: "Me and My Baby"
There wasn't a lot of "performing" in this episode, but I really loved it. The opening tribute to his work on How to Succeed... to "Wilkommen" is so jarring it is inspired! The episode establishes a lot in the timeline. That new kid, Schwartz (Stephen), wants Fosse to talk him through his ideas for a new show called Pippin; Bob says he doesn't want to do it, but we know his need to save the day and fix "the horrible" show will win out. And we know how this turns out - nearly 2,000 Broadway performances! But can you imagine Gwen as Fastrada? (I can...)

This is a decidedly Verdon-centric episode, and watching her struggle through her straight-play debut is painful to watch, and brilliantly acted. I suspect the problem wasn't Verdon entirely; Children! Children! closed on opening night. But the standout sequence here is when we find out why she freaks out when Nicole is left with Paddy Chayefsky (an amiable, slightly skeezy scene with Norbert Leo Butz). The little known shot gun wedding and son she had with James Henaghan (a cruel turn by Santino Fontana) and the harassment/rape that caused it explains so much about her insecurities and co-dependence.

Will they ever explain why that stop-the-show curtain call out of town during Can-Can was both a high and low point in Gwen's life?

I have plenty to say about Michelle Williams and Sam Rockwell. But that's for another time.

#2064

Haven't I Seen This Before? J Lo Channels Fosse

Did any of you catch Fashion Rocks the other night?  I saw maybe six minutes or so, and all of it by pure coincidence.  I was flipping channels, and all of a sudden... there was Jennifer Lopez with a pair of tuxedo-clad, smoking (literally and figuratively) guys! Something about it sure looked familiar...

I'm thinking it's a whole lotta "The Aloof," with a nice touch of "The Heavyweight."  You may know those better as "The Rich Man's Frug" from Sweet Charity as choreographed by one of my heroes, Bob Fosse.

What a nice reminder that Bob and Booty are timeless.  :-)

Jeff
6.009

Broadway Boys: Mr. August 2012: Andy Blankenbuehler

Mr. August 2012

Andy Blankenbuehler

WHY HE'S MR. BROADWAY: Perhaps the better question is why hasn't he been "Mr. Broadway" before now?  After all, he's been on a steady rise up through the Broadway ranks since his debut in the 1992 revival of Guys and Dolls.  Among his other credits as a performer are the original casts of Steel Pier (with Kristin Chenoweth) and Fosse.  His first choreographer credit came with the revival of The Apple Tree, also with Ms. Chenoweth.  Of course, he is most famous for his Tony-winning dances for In the Heights, and since then his provided the choreography for 9 to 5 and The People in the Picture.  Which brings us to why he's the man of the month - Bring It On: The Musical, which marks his directorial debut.  What a way to start! (My review of Bring It On: The Musical is HERE.)

OTHER INFORMATION

• Age: He was born on March 7, 1970 in Cincinnati, Ohio.
• Family: He's married!  To Elly Blankenbuehler!
• Where You Might Have Seen Him: (Broadway) Guys and Dolls (1992), Steel Pier, Fosse, Saturday Night Fever, Man of La Mancha (2002)
• Where You Might Have Seen His Work: (Regional) Waiting for the Moon (Barrymore Award); (Broadway: Choreography) The Apple Tree, In the Heights (Tony Award), 9 to 5, The People in the Picture; (Broadway: Director/Choreographer) Bring It On: The Musical; (Upcoming) Annie (Choreography) (Television) So You Think You Can Dance -Guest Choreography
• On the Internet: broadwaydancecenter.com; bringitonmusical.com; playbillvault.com

IN PHOTOS
Head Shots/Candids

with wife, Elly

with Dolly Parton

Opening Night of Bring It On: The Musical
with the creative team

Shows
Fosse

 Saturday Night Fever

The Apple Tree

In the Heights 

9 to 5 

The People in the Picture

Bring It On: The Musical 

ON VIDEO - ANDY BLANKENBUEHLER: DANCER
Steel Pier - "Everybody Dance": He's half of couple number 8 (she's wearing a yellow dress).



Fosse - "Sing! Sing! Sing!": He is part of the central male quartet, and is featured at 1:34.




ON VIDEO - ANDY BLANKENBUEHLER: DIRECTOR/CHOREOGRAPHER
The Apple Tree - Interview



In the Heights - PromoReel: Best Musical/Best Choreography



Bring It On: The Musical - Promo Reel




Jeff
3.351
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