robert fosse

Robert Louis Fosse was born on June 23, 1927 in Chicago, Illinois. Being the son of a vaudevillian he was appropriately enough born into the theatre. As a child, the art of dance wasn’t only used as a past time by young Fosse, but rather as a way of gaining attention from friends and family. From an early age he had already started studying ballet, tap and acrobatic dance. As Fosse grew up, his talented dancing and signature showmanship had began molding his future career. While still a teenager, he performed with a partner as the Riff brothers in vaudeville and burlesque theaters. At 15 he choreographed his first number in a night-club, in which girls manipulated strategically-placed ostrich feathers to Cole Porter's 'That Old Black Magic'. It was the kind of sexual suggestiveness which would

become a trademark of Fosse's choreography. Before moving to New York and studying acting at the American Theatre Wing, Fosse finished High School in 1945 and had spent two years in the U.S Navy. He also made extra money tapping in burlesque halls and strip clubs, where he was exposed to provocative gestures and poses of strippers.

After moving to New York, Fosse landed his first Broadway job in the chorus of ‘Call Me Mister’ (1948). His Broadway debut, however, followed two years later in ‘Dance Me a Song’ (1950). After debuting on Broadway Fosse set his sights on Hollywood. It was working on three small films including ‘Kiss Me Kate’ (1953), which helped Fosse realize his place was in theatre. His return to theatre brought on ‘The Pajama Game’ (1954). This was Fosse’s big break, which catapulted his Broadway choreographic career. Veteran director/playwright George Abbot took a chance on young Fosse to choreograph his show. Fosse’s ground-breaking choreography and staging in one of the numbers, Steam Heat was the talk of New York and a huge success. Fosse’s signature movements he learned back in the burlesque and strip clubs, were now mesmerizing Broadway audiences. Fosse’s choreographic signature was a formula all his own. “Small groups of dancers executing sometimes disjointed or torturously slow-motion movements drilled to the lift of an eyebrow”, was how one dance magazine critic described it. At times he seemed to take the human body apart and make each piece work separately.

He staged Blockbuster hits one after the other following ‘Sweet Charity’ with ‘Pippin’ (1972), ‘Chicago’ (1975) and ‘Dancin’’ (1978). The L

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