“AND ALL THAT JAZZ”
BY DAVID BURKE
If you’ve ever seen “Fosse” at the RiverCenter Adler Theatre, you likely know what to expect.
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Unless you don’t know who Bob Fosse is.
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The legendary choreographer is responsible for Broadway shows such as “Chicago,” “Sweet Charity” and “Pippin,” and movies such as “Cabaret,” “Sweet Charity” and “All That Jazz” (essentially, his autobiography).
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And “Fosse,” dance captain Ha-Chi Yu says, is a showcase of some of his best work.
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“He redefined musical theater,” Yu said from a tour stop in St. Paul, Minn. “He redefined the role of the performer in musical theater. Even in his ensemble work, he cast all star-quality performers. It wasn’t about the book, it was about all aspects of being a performer.”
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Fosse’s work is demanding on its performers, she said.
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“You have to be able to do everything, disciplined enough to do everything,” Yu said. “It really reflects in his work, because he not only utilizes the strength of each individual performer ... but he was able to bring it to the masses. It was a real socialist approach to musical theater. It involved the character and their role in society.”
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“Fosse” — which won the Best Musical Tony Award in 1999 — is a showcase of Fosse’s work in Broadway, music and TV. There’s no plot, no introductions — just a two-hour whirlwind of his work.
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“It’s definitely more of a dance show than a musical in many respects,” Yu said. “You approach it more as a dancer. The kind of work you have to do, the kind of training you have to do, is more from a dance perspective than any book show.”
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Even though there is no plot, Yu said, “the show flows as one show.”
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“It’s like a ‘greatest hits’ type of revue format in its compilation numbers, but it functions as one vision,” she said. “The transitions are all very choreographed. They flow not so much in chronological order, but rather through style. There definitely is a thread that connects them.”
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“Fosse” is a challenge for its 24 on-stage performers says Yu, a 12-year ballet veteran.
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“It takes a certain amount of discipline, because you have to be triple threats in your field,” she said. “We have people whose fortes are more vocally or dancing, but everybody does everything.”
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As dance captain, she said, the ensemble numbers are the most difficult to pull off.
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As a performer, she said it’s performing “Cool Hand Luke” — a signature Fosse move that was introduced in a 1968 Bob Hope TV special.
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“You have to eat and breathe and think the same rhythm,” she said. “Just to get it synchronized is very, very difficult.”
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Fosse died of a heart attack in 1987 at age 60, but his influence continues, Yu said. That influence is shown in “Fosse.”
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“So many people are familiar with the name Bob Fosse, and have seen maybe one or two of his bigger shows. But often they’re intrigued by its allure. It has an allure that audiences love,” she said. “It covers such a range of emotions and a range of work that if you do know some of his work, you don’t know other portions of his work.”
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Even though the choreography was devised by Fosse and perfect by proteges including Ann Reinking, Yu said there is some room for creativity among herself and the dancers.
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“There’s a responsibility I feel toward the legacy,” she said. “Trying to keep it true and informed and not dated. People come in with a preconceived notion of what it is. But I have to say, ‘No, it’s your body. It has to fit you.’”
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The tour, which began in 2002, will end in December, but Yu said the show will likely live on for quite some time.
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“I think it will always do well, just because of the quality of performers you need to do it,” she said. “It’s fresh all the time, and it does reflect the individual artistry of the performers. There’s always something new.”
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A Brooklyn, N.Y., native, the 28-year-old Yu is the founding director of the Venus Arts Garden, a grass-roots organization in Brooklyn that nurtures established and up-and-coming artists.
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“It’s just my heart,” she said. “It’s very community oriented, and showcases different works whether you’re a professional or have a work in progress.
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“It gives them a space and a voice.”
Vocabulary Questions:
- As it is used in paragraph 5, what does the word ensemble most nearly mean?
- As it is used in paragraph 16, what does the word synchronized most nearly mean?
- As it is used in paragraph 21, what does the word preconceived most nearly mean?
Referring Questions:
- According to the article, what does the author mean when he refers to a performer being a “triple threat?”
- According to the article, how did Bob Fosse redefine musical theater?
- According to the article, which Broadway shows were mentioned that Bob Fosse was responsible for choreographing?
Reasoning Questions:
- What is the main idea of this article?
- Given the way the author presented the article, what is needed for a performer to be successful in a Bob Fosse production?
- What can you easily infer about Bob Fosse and his dedication to musical theater?
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