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Emily Seal
Paper #2
12/12/13
Preserving Concept: Bob Fosse
I was too young to remember seeing Fosse when it came on tour to Richmond VA in
2000, but I went with my Grandmother (a dancer herself) who put me in dance class when I was
two. I wish I could remember the show, but being 5 or 6 at the time I wouldnt have understood
what I was seeing. Fosse is a musical revue showcasing the iconic choreography of Bob Fosse. It
included famous numbers I now know and love such as Steam Heat and Big Spender. I
knew about Fosse since a young age, but the word was more associated with certain dance steps
than with a person. This is because of Fosses iconic choreography and widely known unique
style: Fosse is exceptional for his use of movements from the dance clubs of the wrong side of
town as material for expressing his brutally honest outlook on life in a graphic and shocking
way (to) tell his story in ways that were unique, informative, and exciting (Boross). Bob
Fosse is one of the most influential choreographers of all time.
Though I grew up hearing his name, I never knew anything about the actual man until
very recently. He himself has been described as Enormously creative, inspired, driven, strongwilled, tireless, and ruthless (Cross). I was startled to come upon some of these words
describing Fosse. It immediately showed the gap in communication from my teachers to my
generation regarding who Fosse was, and how he operated. I learned that What he cared about
was work. Death scared him, but not as much as the thought of not being a genius scared him.
That was the most important thing (Wasson). Fosse had a very controlling and perfectionist
outlook regarding his work. This seems to influence why he became a director. As his life went
on, his control over his own work became more important. He started directing and
choreographing with Redhead. This show centered around his wife Gwen Verdon, who only
agreed to the project with the condition that Fosse would direct and choreograph the piece. The

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show is a murder mystery set in a wax museum, and fits very well into the type of work that
Fosse was a part of. With this new innovation, Fosse could move more seamlessly from scene to
song to dance to scene and etc. He had full control over the actors before, during, and after every
piece of choreography. He also was able to make shows with clear style and through line by
using motif and theme in every part of the piece. His unique, dark, sexual style was able to flow
through entire shows and stories. His satirical humor integrated this way meant it didn't matter
how dark it got. In fact, the darker it got, the more of an invitation that was to find something to
laugh about, which is actually another way of thinking about Bob's work (Wasson).
This was clearly evident in one of his most famous pieces of theatre, Chicago. Not only
did he direct and choreograph the production in 1975, he also co-wrote the book. The cynical and
satirical nature of the story fits Fosses style to a T. Underneath the Razzle Dazzle of some
numbers, Chicago is a vaudevillian commentary on the American justice system and celebrity
culture. However, the show was beat out at the 1976 Tonys by A Chorus Line. The only award it
won was Outstanding Lighting Design. Fosse is known to be an innovator for the use of lighting
to direct the audiences attention and enhance his work. It was a perfect piece to demonstrate the
power of having one man influence so many things about a single production. Fosse was a
master of creating a concept (Boross). From there, he could have his hand in every aspect of the
production and keep his concept constant and clear throughout a piece.
Fosse called his entire cast actors, never just dancers. His choreography was not only
steps but included emotion, facial expression, and motivation all integrated into the piece. He
was already directing his cast in this aspect, so moving to directing a whole show was no leap.
His detail obsession and micro-managing was channeled into his work in this way: Fosse
dancers must be able to isolate everything, right down to their eyeballs, elbows and fingers.
When a Fosse dancer learns to focus her energy in stillness, she can grab the audience with a

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simple flutter of her fingers. His signature body language and accessories all have personal
story behind them. He started to incorporate hats because of his own premature balding, turned
in feet because of his personally bad turnout, and slumped shoulders because of his own posture
problems. This use of personal body language made a style so uniquely shaped for his body that
it took, and still does take, incredible attention to detail, repetitive study, and specific sexuality to
imitate and perform Fosse dance correctly. His use of subtly mixed with showy makes the small
moves seem smaller and the large moves seem over the top and gigantic. It keeps surprise in
every single time we see a number. Add constant energy and sexual drive underneath every
single movement, just waiting to bubble over at any second, and you have choreography with
deceptive simplicity, bursting with seduction. A dancer said It should look like youre not
working at allbut youll come off stage sweating (Lanzarone).
This type of simple seduction and teasing is not the route taken by most choreographers
of our day. Because of a lack of understanding about this art form, Fosses choreography is not
frequently executed well anymore. There are a few trusted dancers who were taught by Fosse
himself that can carry on the original detail and teaching of his choreography the way he
personally described and demonstrated it. However, usually choreographers just take bits and
pieces or specific movements from Fosses repertoire and insert them, or tweak them.
I believe this has tainted the concept and choreography with time. Fosse forged an
uncompromising modern style characterized by finger-snapping, tilted bowler hats, net
stockings, splayed gloved fingers, turned-in knees and toes, and shoulder rolls that has
frequently been called cynical (Cross), but how often does this word get associated with his
choreography now? Taken so frequently out of the context of period and show, I believe Fosses
dance has been reduced to these props, and only some of the scandalous sexuality that originally
defined it remains intact. His use of hips and pelvic thrusting was seen so differently in its

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original release than it can be taken now in new times.
This has me asking questions, such as how useful is it to try and use Fosses original
choreography in shows such as Chicago. I saw the current revival last year in September, and left
the theatre not very changed. We cant deny the obvious impact Fosse has had on jazz dance, but
trying to take his choreography and insert it into the production, under different direction and in a
different time, cant recreate the same effect the show originally had on people. Unless the show
is going to be an entire tribute to Fosse, not only in choreography but in concept, direction, and
even down to lighting, is it helping the show to use Fosses dance, and only in certain numbers?
In a show like Chicago, where Fosse had his hand in every part of the original production, the
choreography is not intended to stand alone. As I mentioned earlier, his choreography is going to
benefit the entire production under Fosse because of the flow a show can have when the director
is also the choreographer. I believe Chicagos use of Fosses choreography is only for
commercial purposes. The fact that Fosses original choreography was part of the show is what
brought me into the theatre too. However, I left the show not impressed, and most importantly I
left the show not asking questions. The original underlying commentary on the American Justice
System didnt seem intact. The original Chicago also highlighted criminal celebrity culture,
something that could be very relatable at this time, with the ongoing discussion about shooters
and bombers and the real purpose of the news, media, and internet fame. When you leave a show
that makes the audience ask questions about the actions of our society, and comments on their
own actions as a participant, there is a feeling in the air that is indescribable, but can be achieved
still to this day.
A show I believe retains Fosses concept very well is the revival of Pippin. I saw this
show more recently, just this past September, and it lived up to all of the talk I had heard about
the show. The elements of spectacle and mystery are used to bring people into the theatre, that is

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a given. But, when the show ended, I could tell the audience wasnt expecting the lesson about
life that they most certainly received. The feeling in the air was in between awe at the
performance, and awkwardness or confusion at the questions that arose. Maybe this piece more
easily retains Fosses concepts as a book and show, or maybe the freshness of the story was
better preserved. The movie of Chicago exposed the plot to a wide audience, where most of the
people seeing Pippin seemed to have no idea what they were getting themselves into. I also had
less exposure to Pippin than I did to Chicago, which may take a strong toll on the effectiveness
of the show.
Fosse is the only director I know of who also choreographed his own shows, wrote and
co-wrote books and librettos, and was in total control all the way down to the light design.
Reviving a Fosse show is a delicate task, and must be treated as such. Not only was the man so
powerful in every aspect of each production, but his attention to detail is all in support of his
concept for the show. The production must them make a very important decision before trying to
revive Fosses work: either to fully commit to preserving Fosses hand in the work, not just in
choreography but in every aspect they can, or they must create an entire new concept and put a
new perspective on the piece. Both choices can be valid when used correctly, but somewhere in
between leaves us with a piece of theatre that wont have the original impact Fosse is so famous
for. You cant separate the man into his parts, choreographer director and writer, but instead
must use his vision to preserve the intent of every part, all the way down to each snap.

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Works Cited
Boross, Bob. 2010 Bob Fosse. Bob Boross Freestyle Jazz Dance Web Article
http://www.bobboross.com/page76/page81/page81.html
Cross, Lucy E. 2013 Sony Music Entrainment. Web Article December 2013
http://www.masterworksbroadway.com/artist/bob-fosse
Wasson, Sam. November 2nd, 2013 Weekend Edition Saturday. Web Script, December 2013
http://www.npr.org/2013/11/02/242536059/fosses-genius-workingeven-as-he-was-dying
Lanzarone, Nikka Graff. Legendary Moves. Dance Spirit Magazine. Web Article December
2013http://www.dancespirit.com/2011/10/legendary-moves-nov-2011/