How Did "Fosse/Verdon" Make Those Dance Numbers Look Like the Real Deal?
When you're talking about a style as distinct as Fosse, a flick of the wrist or a roll of the hip is never just that. It takes intention, finesse, exactness and, of course, that characteristically smoldering sex appeal.
Now that the finale of "Fosse/Verdon" has aired, FX is taking viewers behind the scenes to reveal how the dancing came together—and it wasn't just a quick reconstruction.
In the video, director Thomas Kail says, "It was really essential to us that any work that referenced or was from Cabaret or Sweet Charity or from Pippin felt like the real thing."
To get it right, they went as straight to the source as you could get, relying on heavy-hitting-performers-turned-reconstructors Valarie Pettiford, Dana Moore and Lloyd Culbreath. This trio from the Verdon Fosse Legacy worked directly with Gwen Verdon and Bob Fosse as dancers, and they've spent more than six years reconnecting with the choreography's original aims for projects like "Fosse/Verdon." Having the pair's daughter, Nicole Fosse, on board as the show's co-executive producer and creative consultant further ensured authenticity.
For insight into numbers like "Big Spender," plus tantalizing studio footage of the legacy dancers today—they've definitely still got it—check out the video below.
And if you haven't devoured "Fosse/Verdon" yet, consider your weekend fully booked.
- How Many Iconic Numbers Are in the "Fosse/Verdon" Trailer ... ›
- If You're Watching "Fosse/Verdon," Look Out for this Gift to Gwen ... ›
- Undoing the "Lone Genius" Myth of Bob Fosse and Others - Dance ... ›
- Why Dancing in Fosse/Verdon Was (Thankfully) Nothing Like ... ›
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.