Bob Fosse
...se’s. The trademark of his choreography is sexual suggestiveness, as it is even included in the mere action of the lift of an eyebrow. Some elements that are recognizable signatures of Fosse are small groups of dancers that execute steps which are sometimes disjointed and sometimes tremendously slow-motion movements. Many critics have even said that his movements seem to take the human body apart so that each piece can work separately. A dance instructor, Mata Hari, described such a detailed description of Fosse’s choreography that was included in an article from Time Magazine: “Snapping fingers are omnipresent, so are rakishly tilted bowler hats. Both hip and shoulder rolls appear frequently, as do backward exits. Swiveling hips and strutting predominate, as do white-gloved, single-handed gestures.” With such a strong background in the arts, it was no shock that Fosse would go on to become such a powerful, famous phenomena in dance. His signature movements that he learned back in the burlesque and strip clubs, were now mesmerizing Broadway audiences, and movie watchers. One can see the movements in works such as Chicago, Cabaret, All That Jazz, Sweet Charity, Damn Yankees, Pippin, and Dancin’, just to name a few. Out of all his works, three really caught my eye. First off, Sweet Charity was the first collaboration between Fosse and his wife, Gwen Verdon. It was such a creative production with an up-tempo, triumph over adversity theme. Also, the piece was great material for both men and women. Sweet Charity was also unique in that it was Fosse’s first work that had became a motion picture as well. Moreover, Fosse went on to choreograph and direct such productions. He became one of those rare directors who could do it all and accomplish anything. The choreographer/dancer relationship was also different when it came to Fosse. He never taught anything he didn’t know or research and always gave respect while expecting it in return. The second two works that offer a more interesting analysis of Fosse is Dancin’, and finally, All That Jazz. Fosse's last major Broadway hit was Dancin' in 1978. As a critic of Fosse describes, “Significant not only for its distinct Fosse style, the musical was also an important polemic on the future of the traditional musical.” With only dancing, and no plot to speak of, it portrayed a very powerful statement. After all, dance is an art only needing movements to make a point, not words. Taken from Agnes De Mille recalling a Fosse performance, “The truest expression of a people is in its dances and its music...Bodies never lie.” Going along with expression, All That Jazz was one of the last successful productions from Bob Fosse. He gives viewers an honest appraisal of his life in this film; it is that very honesty which makes the film so special and unique, I think. Coincidentally, much of the scenes in All That Jazz mirror some of the events Fosse suffered through the end of his life. I have a lot of respect for such a true to life re-inaction on stage. It is hard to find another great artist who can be greatly compared to Fosse nowadays. Current nationally-known jazz c...