Conscientious theatergoers may be familiar with The School for Scandal, TheSchool for Wives and School of Rock. But how many are also aware of the school of Fosse?
The 1999 musical, a posthumous exploration of the choreographic career of Bob Fosse, ran for 1,093 performances, winning four Tonys and 10 nominations; employing 32 dancers; and, completely unintentionally, nurturing a generation of Broadway choreographers. You may have heard of them: Andy Blankenbuehler and Sergio Trujillo danced in the original cast, Josh Rhodes was a swing, and Christopher Gattelli replaced Trujillo when he landed choreography jobsin Massachusetts and Canada. Blankenbuehler remembers that when Trujillo left, "It was as if he was graduating."
Apart from having won the Tony Award for best choreography, the dances in Damn Yankees, West Side Story and the 1994 revival of Show Boat have little in common.
Not the choreographers—Bob Fosse, Jerome Robbins and Susan Stroman—or the composers—Richard Adler and Jerry Ross, Leonard Bernstein, and Jerome Kern. Not the dancers, either—the standouts were Gwen Verdon, Chita Rivera and Dorothy Stanley.
The name that repeats in all three Playbills belongs to Harold Prince—a producer of the first two and director of the third.
I have always been extremely dramatic. I think "extremely" might even be an understatement. As a child, I was constantly in costume. Never clothes. Always a costume.
When I was 8 we moved into a new house, and took a home video to send to my dad's family. My siblings were performing a song for the camera. I desperately wanted to join them, but they got annoyed and said no. In the video I run out of the room crying hysterically, and you can hear my dad saying, "It's okay, Sam, you can dance for the camera later."
This is followed by about 45 minutes of me dancing. Music changes, style changes, costume changes, the works. Dance was, and still is, the best way I know how to express myself.