Bob Fosse
Robert Louis Fosse (/ˈfɒsi/; June 23, 1927 – September 23, 1987) was an American actor, choreographer, dancer, and film and stage director.[2] He directed and choreographed musical works on stage and screen, including the stage musicals The Pajama Game (1954), Damn Yankees (1955), How to Succeed in Business Without Really Trying (1961), Sweet Charity (1966), Pippin (1972), and Chicago (1975). He directed the films Sweet Charity (1969), Cabaret (1972), Lenny (1974), All That Jazz (1979), and Star 80 (1983).
Bob Fosse
June 23, 1927
September 23, 1987 (aged 60)
Ashes scattered in the Atlantic Ocean off the shores of Napeague/Amagansett, New York[1]
40°48′N 72°36′W / 40.8°N 72.6°W
- Actor
- choreographer
- dancer
- director
1947–1987
Ann Reinking (1972–1978)
Fosse's distinctive style of choreography included turned-in knees and "jazz hands". He is the only person ever to have won Oscar, Emmy, and Tony awards in the same year (1973). He was nominated for four Academy Awards, winning Best Director for Cabaret, and won the Palme d'Or in 1980 for All That Jazz. He won a record eight Tonys for his choreography, as well as one for direction for Pippin.
Early life[edit]
Fosse was born in Chicago, Illinois, on June 23, 1927, to a Norwegian-American father, Cyril Kingsley Fosse, a traveling salesman for The Hershey Company,[3] and an Irish-American mother, Sarah Alice "Sadie" (née Stanton) Fosse. He was the fifth of six children.[2][4][5]
He was drawn to dance and took lessons. When he was 13 years old, Fosse performed professionally in Chicago with Charles Grass, as "The Riff Brothers".[6] They toured vaudeville and movie houses in Chicago, as well as USO theaters and Eagles Clubs.[7] Many of these performances included shows at burlesque clubs, such as the Silver Cloud and Cave of Winds. Fosse himself is quoted with saying "I was sixteen years old, and I played the whole burlesque wheel." However, many of the women and promoters did not care that Fosse was underage working in adult clubs or that he would be exposed to sexual harassment from the burlesque women. Much of the erotica he saw would inspire his future work. In 1943, at the age of 15, Fosse would come to choreograph his first dance number and earn his first full credit as a choreographer in a film, Hold Evry'thing! A Streamlined Extravaganza in Two Parts, which featured showgirls wearing strapless dresses and performing a fan dance, inspired by his time in burlesque houses.[8]
After graduating from Amundsen High School[9][10][11] in 1945, Fosse was recruited into the U.S. Navy toward the end of World War II at Naval Station Great Lakes, where he was sent to be prepared for combat. Fosse petitioned his manager, Frederick Weaver, to advocate on his behalf to his superiors after his own failed attempts to be placed in the Special Services Entertainment Division.[8] Fosse was soon placed in the variety show Tough Situation, which toured military and naval bases in the Pacific Ocean.
After his discharge, Fosse moved to New York City in 1947 with the ambition of being the new Fred Astaire. He began to study acting at the American Theatre Wing, where he met his first wife and dance partner, Mary Ann Niles (1923–1987).[12] His first stage role was in Call Me Mister, along with Niles.[13] Fosse and Niles were regular performers on Your Hit Parade in its 1950–1951 season. Dean Martin and Jerry Lewis saw their act in New York's Pierre Hotel and scheduled the couple to appear on The Colgate Comedy Hour in 1951.[14]
A year before his death, Fosse told an interviewer, "Jerry [Jerome Robbins] started me doing choreography. He gave me my first job as a choreographer and I'm grateful for that."[15]
Fosse was signed to an MGM contract in 1953.[16] His early screen appearances as a dancer included Give a Girl a Break, The Affairs of Dobie Gillis and Kiss Me Kate, all released in 1953. Fosse's choreography of a short dance sequence in Kiss Me Kate and dance with Carol Haney brought him to the attention of Broadway producers.[17]
Innovations[edit]
Notable distinctions of Fosse's style included the use of turned-in knees, the "Fosse Amoeba", sideways shuffling, rolled shoulders and jazz hands.[31] With Astaire as an influence, Fosse used props such as bowler hats, canes and chairs. His trademark use of hats was influenced by his own self-consciousness, according to Martin Gottfried in his biography of Fosse, "His baldness was the reason that he wore hats, and was doubtless why he put hats on his dancers."[22] Fosse used gloves in his performances because he did not like his hands. Some of his most popular numbers include "Steam Heat" (The Pajama Game) and "Big Spender" (Sweet Charity). The "Rich Man's Frug" scene (starring a young Ben Vereen) in Sweet Charity is another example of his signature style.
For Damn Yankees, Fosse was inspired by the "father of theatrical jazz dance", Jack Cole.[22] In 1957, Verdon and Fosse studied with Sanford Meisner to develop a better acting technique. According to Michael Joosten, Fosse once said: "The time to sing is when your emotional level is too high to just speak anymore, and the time to dance is when your emotions are just too strong to only sing about how you 'feel.'"[32]
In Redhead, Fosse used one of the first ballet sequences in a show that contained five different styles of dance: Fosse's jazz, a cancan, a gypsy dance, a march and an old-fashioned English music hall number. During Pippin, Fosse made the first television commercial for a Broadway show.[17]
Personal life[edit]
Fosse married dance partner Mary Ann Niles (1923–1987) on May 3, 1947, in Detroit.[33] In 1952, a year after he divorced Niles, he married dancer Joan McCracken in New York City;[34] this marriage lasted until 1959, when it also ended in divorce.[35]
His third wife was dancer and actress Gwen Verdon, whom he met choreographing Damn Yankees, in which she starred.[36] In 1963, they had a daughter, Nicole Fosse, who later became a dancer and actress. Fosse's extramarital affairs put a strain on the marriage and by 1971 they were separated, although they remained legally married until his death in 1987. Verdon never re-partnered.[22][37][38]
Fosse met dancer Ann Reinking during the run of Pippin in 1972. According to Reinking, their romantic relationship ended "toward the end of the run of Dancin'" (1978).[39]
In 1961, Fosse's epilepsy was revealed when he had a seizure onstage during rehearsals for The Conquering Hero.[22]
Fosse's time outside of the rehearsal studio or theater was seldom spent alone. As stated in the biography Fosse by Sam Wasson, "nights alone were murder on Fosse". To alleviate loneliness and insomnia brought on by his prescribed amphetamines, Fosse would often contact dancers he would work with and try to date them, making it hard for many to refuse his advances, but also giving him the affirmation of success he sought.[8]
During their joint career, Fosse would continually take blame from critics while Gwen Verdon would get praise, no matter how much influence Verdon had on a production. However, Verdon always looked out for him and the Fosse family image, hosting grandiose cast parties and being Fosse's personal press secretary throughout their marriage.[8]
Death[edit]
Fosse died of a heart attack on September 23, 1987, at George Washington University Hospital while the revival of Sweet Charity was opening at the nearby National Theatre.[2] He had collapsed in Verdon's arms near the Willard Hotel.[40]
As he had requested, Verdon and Nicole Fosse scattered his ashes in the Atlantic Ocean off Quogue, Long Island, where Fosse had been living with his girlfriend of four years.[1]
A month after his death, Verdon fulfilled Fosse's request for his friends to "go out and have dinner on me" by hosting a star-studded, celebrity-filled evening at Tavern on the Green.[41]