Michelle Williams as Gwen Verdon. Photo by Eric Liebowitz/FX Networks

If You're Watching "Fosse/Verdon," Look Out for this Gift to Gwen from Jack Cole

You can see them in "Fosse/Verdon" episode one. Michelle Williams, playing Gwen Verdon, wears them with a cool, retro, forest-green jumpsuit. Tucked beneath a mop top of tousled Gwen Verdon locks, Williams sports a pair of discreet and tasteful onyx drop-earrings—the dancer's favorites. Verdon wore them all her adult life, according to her daughter Nicole Fosse, a co-executive producer of the FX series that puts a spotlight on a great woman of American dance.

"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."


The earrings were a treasured gift from Verdon's hard-bitten mentor and boss Jack Cole. They arrived at an important juncture of her life and career. She was transitioning from six years as a Cole dancer. When she burst forth on Broadway, her Jack Cole pedigree and pizazz served her well. Triumphing in a second-lead role in Can-Can (she initially deprecated the show's choreographer Michael Kidd as not Cole's equal), Verdon began her long reign as Broadway's queen of musical-theater. Although she returned to Los Angeles to again work with Cole, New York did not easily forget. Soon came Damn Yankees—and a new choreographer, Bob Fosse.

Cole had been nearly flippant in encouraging Verdon to audition for Can-Can. "Go ahead," he told her, releasing her from duties at 20th Century Fox in the midst of a high-stakes project (for him), Gentlemen Prefer Blondes. "You'll get a free weekend in New York."

Verdon got more than a weekend. To the shock of all, especially Cole, she got the job.

Cole and Verdon had worked hand-in-glove on a roster of films, not as equals but as master and protégée, first at Columbia Pictures in Cole's legendary resident dance company. Replacing Carol Haney, Verdon became a vital member of The Jack Cole Dancers traveling the nation in 1947 in Cole's sizzling, sexy nightclub act. Then, at 20th Century Fox, Verdon danced for Cole, and assisted him, in On the Riviera, David and Bathsheba, Gentlemen Prefer Blondes, The Farmer Takes a Wife, How to Marry a Millionaire and Gentlemen Marry Brunettes.

For Gentlemen Prefer Blondes, Cole had relied heavily on Verdon to coach Marilyn Monroe and Jane Russell, both non-dancers, in the rigors of his beat-by-beat musical stagings. Verdon was Monroe's 'dance-in' (an unconfirmed rumor has Verdon's pert derriere doubling for Monroe's large-ish one in "Diamonds are a Girl's Best Friend"). Finally, Verdon herself danced in Cole's lengthy "Four French Dances," a Folies Bergère-style number that heartbreakingly was cut. In it, ironically, Verdon danced a can-can.

Given this background, it is unsurprising that after Verdon's casting in Can-Can, Cole greeted her with a punch. He pulled that punch by attending Verdon's opening night, May 7, 1953—and sending a small gift box backstage.

In it was Cole's handwritten note to his muse: "You really know how to do it. And you did it."

The earrings remained in Verdon's life both off and on-stage, as a cherished memento. She incorporated the very '50s black dangles into her brand, along with her flaming red hair.

"I wear them on the cover of Time magazine. I wear them on the cover of Life magazine," Verdon is quoted in 1985's "Only the Best: A Celebration of Gift Giving in America."

"When she was being Gwen Verdon—at dinner or awards function, a benefit or on stage—she wore them," remembers Nicole Fosse. "When she was being herself—Gwen the friend, Gwen the mom, or Gwen the dancer, sweating with other dancers—she didn't wear them."

Hollywood never gave Verdon the love she got on Broadway. She became an inveterate New Yorker, never looking back. The earrings marked this turning point, as well as her complex feelings about Cole. While the eight-episode "Fosse/Verdon" seeks to clarify Verdon's influence on her husband Bob Fosse's hugely successful career, the earrings represent another layer of influence hiding in plain sight, that of Jack Cole on Verdon—and via Verdon on Fosse.

(Jack Cole is present in "Fosse/Verdon" episode three, airing tonight, in a brief cameo role played by Christopher Tocco. The episode also includes a Cole-style jazz number smartly choreographed by Andy Blankenbuehler.)

Upon the death of her mother in 2000, Fosse inherited the earrings. She brought them to the attention of FX's costumer Melissa Toth, who had them replicated for Williams to wear in the television series. The replications are markedly lighter, says Fosse. "The original ones are quite heavy. They really pull on your ear."

It would be difficult to dance while wearing them. But that tug at the ear—and possibly at her heartstrings—was a bittersweet weight Gwen Verdon clearly was ready to bear.

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Brandt in Giselle. Rosalie O'Connor, Courtesy ABT

Skylar Brandt's Taste in Music Is as Delightful as Her Dancing

American Ballet Theatre soloist Skylar Brandt's dancing is clean, precise and streamlined. It's surprising, then, to learn that her taste in music is "all over the place," she says. (Even more surprising is that Brandt, who has an Instagram following of over 80k, is "in the dark ages" when it comes to her music, and was buying individual songs on iTunes up until a year ago, when her family intervened with an Apple Music plan.)

Though what she's listening to at any given time can vary dramatically, the through-line for Brandt is nostalgia: songs that take her back, whether to childhood, a favorite movie or a piece she's recently performed. Brandt told us about her eclectic taste, and made us a playlist that will keep you guessing:

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Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

NYCDA Is Redefining the Convention Scene Through Life-Changing Opportunities

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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Courtesy The Joyce

Dance Magazine Chairman's Award Honoree: Linda Shelton

In an industry that has been clamoring for more female leadership, Linda Shelton, executive director of New York City's The Joyce Theater Foundation since 1993, has been setting an example for decades. As a former general manager of The Joffrey Ballet, U.S. tour manager for the Bolshoi Ballet, National Endowment for the Arts panelist, Dance/NYC board member and Benois de la Danse judge, as well as a current Dance/USA board member, Shelton has served as a global leader in dance. In her tenure at The Joyce, she has not only increased the venue's commissioned programming, but also started presenting beyond The Joyce's walls in locations such as Lincoln Center.

What brought you to The Joyce?

That was many years ago, but it's still the same today: It's a belief in and passion for the mission of the theater, which is to support dance in all of its forms and varieties—every kind of dance that you could imagine.

Diversity is so important in dance leadership today. How do you approach this at The Joyce?

Darren Walker said something interesting at a Dance/NYC Symposium, which was that The Joyce is a disruptor. It was nice to hear in that context, because we don't think of it as something new. We didn't have to change our mission statement to be more diverse. We've been doing this since day one.

Is drawing in new audiences and maintaining longtime supporters ever in conflict?

Of course. I call it the blessing and the curse of our mission. We do present more experimental companies that may attract a younger audience. But it's very tricky. You're not going to tell your long-term audience, "Don't come and see this because you're not going to like the music." We've had people walk out of the theater before, but it's a response. It's important to spark those conversations.

What experimenting have you done?

We've tried a "pay what you decide" ticket the past couple of seasons with some of our more adventurous programming. You would reserve your seat for a dollar and after seeing the show pay what you decide is right for you.

Do you have advice for other dance presenters?

Find opportunities to sit with colleagues from around the country. At Dance/USA there's a presenters' council where we come together and talk about what we're putting in our seasons and what we're passionate about. Maybe there are enough presenters to collaborate and make it possible to bring a company to New York or to do a tour around the country.

Also, remember what it's all about: making that connection between what's onstage and the audience. If we can do that, despite every visa issue and missed flight and injury and changed program and whatever else comes our way, then we should feel good about the job we're doing.

To purchase tickets to the Dance Magazine Awards or become a sponsor, visit dancemediafoundation.org.

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