I was lucky enough to see the compilation show Fosse in the West End. It featured a selection of memorable numbers from his career. Watching this live performance gave me a greater appreciation of Bob Fosse’s artistry and genius. I could also see how his style developed during his career. His early years working in Burlesque inspired his choreography, as certain numbers involved showgirls using feather fans as props.
One of his idols was Fred Astaire whose influence shows in his early work. In the documentary Steam Heat, Bob explains that he tried to imitate Fred until he discovered his own unique style. A style which developed due to his physical limitations “Thank God I wasn’t born perfect”. Fosse began losing his hair quite young so started wearing hats, and his feet never had the ballet turn out so he started turning them in.
Fosse choreographed a duet for himself and Carol Haney as a section of From This Moment On in 1953’s Kiss Me Kate. At this point it’s clear how individual his approach to dance was. Minimal movement followed by an explosion of limbs, jumps, and turns. His muse and third wife was Gwen Verdon. They danced together (like a mirror image) during the Who’s Got The Pain number from 1958’s Damn Yankees. Fosse worked on several successful shows with Verdon; 1955’s Damn Yankees, 1957’s New Girl In Town, 1959’s Redhead (a wonderful piece), 1966’s Sweet Charity, and 1975’s Chicago.
Steam Heat from The Pajama Game is another great example. What I find striking about this dance is the posture throughout. It’s choreographed so that the trio rarely stand up straight and their feet stay close to the ground. The phrase less is more springs to mind, so as a consequence the impact of any steps are heightened.
Big Spender from Sweet Charity is also classic Fosse. A group of dancehall hostesses with their backs to the camera, rolling their shoulders and hips, fingers spread. Subsequently they line up along a standalone bar, adopting individual poses, trying to entice the customers with subtle seductive movements. A leg over the bar, or legs apart but turned inwards, arms behind backs with hands reaching around to the hips, syncopated heel beats, clicks, and foot stamping. Then suddenly from nowhere a convulsion of gyrating arms and bodies. Only a true visionary could make this number work.
Fosse’s work conveys a fascination with two powerful forces of human nature, sex and death. Generally private and personal experiences, he openly tackled these taboo topics. Most notably in 1979’s semi autobiographical film All That Jazz. It’s actually quite disturbing in parts because it offers a complex insight into somebody else’s psyche.