Index

Abbott, George, 10, 23, 27, 55, 77, 85, 103, 125, 141, 143, 191, 229, 243

“Abbott Touch,” 35–36, 243 and Damn Yankees (musical), 49, 51 and Damn Yankees (film), 58 and New Girl in Town, 61–67, 69 and The Pajama Game (musical), 35–37, 39, 41 and The Pajama Game (film), 57–58 background as playwright and director, 35–36 influence on Fosse, 3, 60, 67, 135, 203 working with Jerome Robbins, 10, 36, 41 ABC Pictures, 144, 146, 150, 154 Abdul, Paula, 274, 317n13 Academy Awards (Oscar), 4, 138, 156, 179, 189, 245, 254 Acocella, Joan, 274 Actors Studio, 10, 204 Adams, Edie, 97 Adams, Roger, 37, 43, 55 Adams, Lee, 164 Adler, Richard, 36, 40, 51, 54, 61 Admiral Broadway Revue, The, 22 Affairs of Dobie Gillis, The, 30–31 “After You’re Gone,” 240 AIDS, 272 Ailey, Alvin, 213 Ain’t Misbehavin’, 228–229, 273 Ain’t Supposed to Die a Natural Death, 164 “Ain’t We Got Fun?,” 262, 263–264, 269, 316n12 “Airotica,” 223, 237–238 Alda, Alan, 129 Aleichem, Sholom, 125 Ali, Mohammad, 118 Alice’s Restaurant, 137 Alive and Kicking, 46 “All I Care About,” 16, 192, 199–200, 316n12 All That Jazz (film), 5, 13, 16, 91, 94, 95, 121, 139, 159, 167, 176, 183, 211, 212, 223, 231–246, 247, 248, 249, 253, 255, 257, 274 awards, 245 box office performance, 245 budget, 232, 241–242 bypass surgery footage, 239–240 casting, 233–234, 301n18 critical reception, 245 encouragement from Pete Hamill, 231

“Fosse time,” 243 influence on other filmmakers, 245–246 interviews as basis for screenplay, 231–232 similarities to 8½, 234 similarities to Fosse’s life, 13, 231–244 “All That Jazz,” 197–198, 302n37 Allegro, 9–10, 142 Allen, Debbie, 258–259, 268, 271 Allen, Jay Presson, 144–145, 150, 155, 156 Allen, Peter, 239–240, 260 Allen, Woody, 82, 250 “Alley Dance,” 44, 265, 280n42 Allied Artists, 144, 154 Aloff, Mindy, 255 Alpert, Herb and the Tijuana Brass, 135, 140, 256 Alpert, Hollis, 146 Alpert, Robin, 220 “Alter Ego,” 28 Altman, Robert, 233 Alton, Robert, 10, 27, 278n14 “America” (West Side Story), 134 “America” (Dancin’), 224 American Arbitration Association, 85 American Ballet Theatre, 213 American Repertory Theater, 182 American Theatre Wing, 26

Amiel, Jon, 239 “amoeba,” 53, 100, 120–121, 131 Andrews, Nancy, 98 Andrews Sisters, The, 19, 167, 172, 264, 265 Anna Christie (Eugene O’Neill), 3, 61 Annan, Beulah, 190–191, 200 Annie (musical), 227 Annie (film), 255 Annie Get Your Gun, 69 ANTA Theater, 85 Antoon, A.J., 198 Apartment, The, 88–89, 128, 129, 164 Apollo (George Balanchine), 219–220 Appaloosa, The, 131 Applause, 164 Arabesque, 129 Aristides, John, 65, 80 Arkin, Alan, 129 Arlen, Harold, 9, 15–16, 94 Aronofsky, Darren, 245 Aronson, Boris, 125, 142, 204 Arthur (nightclub), 117–118 Arthur, Robert, 129 As Caesar Sees It, 103 Ashman, Howard, 256 Astaire, Fred, 7, 17, 18, 25, 26, 27, 28, 30, 31, 98, 105, 131–132, 134, 201, 215–216, 316n12 Astaire, Fred and Adele, 41 Astoria Studios, 234, 240 Atkinson, Brooks, 36, 66, 77 Auntie Mame (Patrick Dennis), 96 Aurthur, Robert Alan, 145, 187, 231, 234, 241 Autumn Born, 314n21

Babes in Arms, 8 Babes in Toyland, 7 Bach, Johann Sebastian, 123, 226 Bacharach, Burt, 164 Backstreet Boys, 208 BAFTA (British Film Academy), 156 Bailey, Beth, 139 Bajour, 195 Baker, Carroll, 250 Balanchine, George, 8, 12, 23, 39, 81, 118, 173, 215, 219–220, 224 Ballet Russe de Monte Carlo, 73 Ballet Theatre, 10, 11, 55, 73, 78 Ballet Today, 255 Bancroft, Anne, 106, 292n5 Band Wagon, The, 30, 47 Bara, Theda, 50 Barnes, Clive, 80, 163, 179, 185, 207, 228, 303n70 Barry, Julian, 187, 188–189, 233 “The Battle,” 82–84, 109, 173, 289n56 “Battle Hymn of the Republic," 195 Baum, Martin, 146 Bayes, Sammy, 180, 303n70 “Be a Performer,” 100 “Beale Street Blues,” 46 “Beat Me Daddy, Eight to the Bar,” 265–266, 267, 269 Beatles, The, 132 Beatty, Warren, 233 Beaumont, Ralph, 87 Beddow, Margery, 73, 75, 82, 83 Begelman, David, 140, 212, 232 “Behave Yourself,” 75 Belcher, Ernest, 45 Belle of New York, The, 215 Bells are Ringing, 3, 56–57, 92, 287n14, 293n28 Ben Franklin in Paris, 124 Benedict, Gail, 221 Ben-Hur, 130 Bennett, Michael, 20, 69, 202, 228, 268, 272 Bennett, Robert Russell, 285n99 Benson, George, 235 Benton and Bowles, 88 Berenson, Marisa, 150, 153, 188 Bergasse, Joshua, 127 Bergen, Polly, 79 Berghof, Herbert, 24 Bergman, Ingmar, 251 Bergman, Sandahl, 213, 221, 225, 236, 237–238, 311n11 Berkeley, Busby, 137, 240–241, 261, 277n10

Berlin, Irving, 8, 56, 78, 277n10 Berlin Stories (Christopher Isherwood), 112, 141, 154 Berlind, Roger, 262 Bernie, 255 Bernstein, Ira, 232 Bernstein, Leonard, 10–11, 42 Best Foot Forward, 36, 58 Beyoncé, 162, 275, 298n7 Bharata Natyam, 20 Big Deal, 6, 176, 256–257, 260–269

“Big Deal Ballet, The,” 257 book, 256–257, 261, 263, 267–269 box office performance, 5, 267, 268–269 budget, 262 casting, 260 change in locale from film source, 256 critical reception, 267–268 design team, 260, 261 film techniques used in staging, 261, 268, 269

Fosse’s early interest in stage adaptation, 256

Fosse’s financial arrangement, 262

Fosse’s physical condition during production, 262–263 lighting, 261–262, 265 music staff, 260, 261 out-of-town tryout, 267 promotion, 6 score, 5, 257, 261, 269, 314n38, 315n54 screenplay version, 257 set design, 5, 261–262, 265 staging beyond the proscenium, 261, 262, 269 television commercial, 262, 268

Tony Awards, 268–269 Big Deal on Madonna Street, 5, 256 Big Knife, The (Clifford Odets), 23, 24 “Big Noise From Winnetka,” 223 “Big Spender,” 120–121, 123, 131, 237, 258, 263, 268, 273, 316n12 Bigelow, Roger A., 166 “Billie Jean,” 304n5 Billion Dollar Baby, 23, 36, 117 Birdman or (The Unexpected Virtue of Ignorance), 245 Blackstone Theater, 19 Blankenbuehler, Andy, 275 Bloomer Girl, 9, 23 Blue Angel, The, 149, 205 Bob Fosse: A Dancin’ Man, 316n12 Bobbie, Walter, 127, 206 Bobbitt, Lorena and John Wayne, 207 “Bobby Fosse’s La Petite Café,” 14 Bocca, Julio, 222 Bock, Jerry, 36, 125 Bogdanovich, Peter, 248, 250, 253–254 Bolender, Todd, 85 Bolger, Ray, 78 Bolshoi Ballet, 109 Bonanza, 161 Bonanza Bound, 46 Bonnie and Clyde, 94 “Boom Boom,” 100 Booth, Shirley, 42 “Born in a Trunk,” 95 Born Yesterday, 56 Bowab, John, 258 Boys From Syracuse, The, 10 Brando, Marlon, 131, 253 Brantley, Ben, 182 Bravo Giovanni, 103 Breakfast at Tiffany’s (Truman Capote), 112 Breaking Away, 140 Breathless, 132 Brecht, Bertolt, 170, 193, 203, 204 Brel, Jacques, 158 Brice, Fanny, 105–106 Brigadoon, 9, 117 Bring in ’Da Noise, Bring in ’Da Funk, 207 Brink, Gary, 245 Brinkley, Christie, 208 Brisson, Frederick, 36, 49, 57, 61 Broadhurst Theater, 227, 228, 273 Broadway Arts, 197, 211, 234 “Broadway Rhythm,” 95 Broadway Theater, 262 Brooks, Mel, 82

“Brotherhood of Man, Th e,” 90 – 91 Brown, Candy, 166 , 174 , 176 , 179 , 200 , 301n18 Brown, Lew, 277n10 Browning, Kirk, 79 Bruce, Carol, 87 Bruce, Honey, 188 Bruce, Lenny, 4 , 187 – 190 , 233 Bruton II, Cisco, 260 Burke, Karen G., 213 , 221 burlesque, 15 Burns, Ken, 130 , 215 Burns, Ralph, 146 , 188 , 239 , 242 , 243 , 245 , 251 , 252 , 254 , 260 , 261 Burnt Off erings , 140 Burrows, Abe, 2 , 47 , 88 , 89 , 92 , 93 , 104 Burton, Sybil, 117 “But the World Goes ’Round,” 153 Buttafuoco, Joey, 207 Buttons, Red, 99 Buzzi, Ruth, 117 Bye Bye Birdie , 124 – 125 “Bye Bye Blackbird,” 161 , 185 “Bye Bye Life” (“Bye Bye Love”), 242 – 243

Caan, James, 233 Cabaret (musical), 4, 112 , 141 – 144 Cabaret (fi lm), 112 , 141 , 144 – 158 , 161 , 162 , 163 , 165 , 169 , 188 , 190 , 192 , 204 , 228 , 242 , 246 , 251 , 253 , 257 , 274 , 300n59 as refl ection of contemporary culture and politics, 4 , 139 , 155 awards, 4 , 156 , 179 box offi ce performance, 156 budget, 144 , 146 casting, 145 , 146 changes from the stage musical, 4 , 144 – 145 , 154 choreography, 7 , 65 , 137 , 147 – 152 circumstances of Fosse’s hiring as director, 144 critical reception, 155 Fosse’s confl icts with Feuer, 146 infl uence on stage revivals, 150 , 157

preview responses, 154 screenplay, 113 , 144 – 145 , 150 – 152 , 154 sexuality of lead male character, 145 , 154 visual style, 60 , 149 , 150 “Cabaret,” 153 – 154 , 161 Cabin in the Sky , 8 Caesar, Sid, 22 , 82 , 96 – 97 , 100 , 102 Caesar’s Palace, 126 Cage aux Folles, La , 197 – 198 , 259 Call Me Madam , 36 Call Me Mister , 19 , 280n42 Calloway, Cab, 169 “Campaign, Th e,” 82 Canby, Vincent, 137 , 245 Can - Can , 11 , 47 – 48 , 54, 128 , 195 Cannes Film Festival, 245 “Can’t Help Lovin’ Dat Man,” 8 Cantor, Eddie, 192 , 203 , 205 Capone, Al, 224 Capp, Al, 11 Carlisle, Kevin, 73 , 74 , 77 Carmina Burana , 172 Carnegie Hall, 216 Carnegie Mellon University, 163 Carnival , 93 , 124 – 125 , 196 , 209 Carousel , 9 Carpenter, Carlton, 28 Carpenter, Teresa, 247 , 248 , 249 Carpetbaggers, Th e , 250 Carr, Jay, 109 , 112 Carr, Lawrence, 69 , 294n36 Carradine, Keith, 233 Carson, Johnny, 245 Casey, Eileen, 21 , 311n11 Cassidy, David, 167 Catered Aff air, Th e , 111 Cates, Joseph, 95 Catherine the Great, 107 – 108 , 109 Cats , 208 , 259 , 262 Cavalcade of Stars , 27 , 28 CBS Festival of Lively Arts for Young People . See “Julie Andrews’ Invitation to the Dance, with Rudolf Nureyev”

“Cell Block Tango,” 205, 316n12 Chadman, Christopher, 166, 213, 226, 258, 260, 263, 301n18 Chamberlain, Richard, 129 Champion, Gower, 4, 28–29, 107, 124–125 Champion, Marge, 45 Champion, Marge and Gower, 19–20, 28 Champlin, Charles, 155 Channing, Carol, 60, 128 Chaplin, Charles (Charlie), 41, 71–72, 112, 115, 122, 134, 258 Chaplin, Saul, 32 Chaplin walk, 44, 52, 91, 94, 99, 208 Chapman, Gary, 260, 264 Chapman, John, 78 Charade, 129 “Charity’s Wish,” 115 Charlap, Moose, 82, 85 “Charley My Boy,” 263 Charnin, Martin, 113, 128, 294n39 Charny, Suzanne, 117 Chase, Barrie, 94–95 Chayefsky, Paddy, 2, 111, 140, 145, 178, 224, 232–233, 235, 247, 249, 255 “Check Apron Ball, The,” 62–63 Chevalier, Maurice, 100 Chicago (Maurine Watkins), 112, 190–191, 196 Chicago (musical), 16, 56, 100, 167, 170, 176, 181, 183, 190–209, 211, 212, 213, 229, 231, 232, 234, 237, 238, 240, 246, 256, 227, 275, 287n14 age of Roxie Hart, 192 as reflection of contemporary culture and politics, 4, 139, 193, 195, 206, 207 as “musical vaudeville,” 4, 192–193, 204, 208 box office performance, 205–206

Brechtian influences, 193–194 budget, 195 casting, 195–196, 205–206, 213, 234, 301n18, 311n11 comparison to A Chorus Line, 202, 205, 208 costume design, 197, 199–200, 201–202 critical reception, 204, 205 early attempts to obtain rights to play, 112, 190, 192, 294n36 impact of Fosse’s illness, 199, 231 libretto, 187, 194–195 lighting design, 197 musical references, 192–193, 302n37, 306n34, 314n38 out-of-town tryout, 201 set design, 171, 196–197

Tony Awards, 206

Verdon’s contract, 195 working relationship between Fosse and Verdon, 192 Chicago (1996 revival), 6, 182, 206–209, 272, 274 Chicago (1927 film), 191, 305n25 Chicago (2002 film), 151, 181, 274, 315n58 Chicago Academy of Theater Arts, 14–15 Chicago Tribune, 190 Chicago World’s Fair of 1893, 15 Childs, Kirsten, 121 Chitty Chitty Bang Bang, 137 Chorus Line, A (musical), 166, 167, 202, 204, 206, 208, 213, 228, 235, 244, 259, 272, 290n18 Chorus Line, A (film), 255 Cilento, Wayne, 127, 213, 260, 263, 266 Cirque du Soleil, 150, 183 Citizen Kane, 188, 245 City Lights, 134 Civic Light Opera Association, 206 “Clarinet Solo,” 218 Clark, Cheryl, 166, 200, 301n18 Clayburgh, Jill, 167 “Cleveland, U.S.A.,” 96 Clift, Montgomery, 253 Clio Award, 179 Close Encounters of the Third Kind, 233 Coco, James, 292n62 Cocoon, 259

“Coda for a Dancer,” 111 “Coffee Break,” 89–90, 93 Cohan, George M., 13 Cohn, Harry, 44 Cohn, Sam, 212, 232, 233, 250, 257 Colby, Christine, 121, 225 “Cold Hearted,” 317n13 Cole, Jack, 36, 41, 51, 71, 105, 216–217, 219, 265, 309n28 and jazz dance, 20–21 as director-choreographer, 124 at Columbia Pictures, 20 at Twentieth Century-Fox, 46–47 dance background and training, 20 dance influences, 3, 20 influence on Fosse and other choreographers, 3, 20, 33, 52–53, 316n12

Jack Cole and His Dancers, 20–21, 37, 45 working with Verdon, 45–47, 48 Coleman, Cy, 1, 97, 104, 110, 122, 123–124, 126, 130, 131, 165, 258, 271 Coleman, Desiree, 260 Colgate Comedy Hour, 25 Colgate Variety Hour, 55 Collins, Judy, 167 Columbia Pictures, 20, 42–44, 212, 213, 232, 241 Comden, Betty, 10, 36, 42, 56, 269 Come Blow Your Horn, 96 Como, Perry, 115 Company, 144, 169 “concept musical,” 125, 142–143, 169–170 Condon, Bill, 181 Connecticut Yankee, A, 277n10 “Conga,” 43 Connolly, Bobby, 277n10 Conquering Hero, The, 81–86, 87, 89, 99, 104, 106, 109, 117, 154, 173, 260, 289n68 casting, 82, 293n28 critical response to Fosse’s work, 84–85 Fosse’s complaint with American Arbitration Association, 85–86

Fosse’s conflicts with collaborators, 3, 82, 84–86

Fosse’s contract, 3, 81

Fosse’s desire to play lead role, 82, 85

Fosse’s drug use and resulting work habits, 82, 84–85

Fosse’s firing, 3, 85–86 out-of-town tryouts, 84–85 Contact, 309n35 “cooch” dancing, 15, 279n12 Cook, Barbara, 196 Cook, Jill, 221 Cooke, Richard P., 105 Cool Hand Luke, 135 “Cool Hand Luke,” 135, 136, 214, 273, 316n12 Copley Plaza Hotel, 22 Coppola, Francis Ford, 156, 161, 259 Corey, Jill, 94 “Corner of the Sky,” 182 Cotillion Room (Hotel Pierre), 21 Cotton Club, The, 259 Cover Girl, 28 Cox, Alice Everett, 121 Coyne, Jeanne, 32 “Crazy Rhythm” (“Showoff”), 20 Creative Management Associates (CMA), 140, 212 Cries and Whispers, 251 Croce, Arlene, 204, 224, 225 Crowther, Bosley, 60 “Crunchy Granola Suite,” 214–215, 226, 236 Cuban Village, 16 Culbreath, Lloyd, 260, 315n59, 315n69 Cushman, Robert, 303n70 Cyrus, Billy Ray, 208

“Daddy, You’ve Been a Mother to Me,” 264 Dailey, Dan, 108 Damn Yankees (musical), 3, 48–55, 61, 62, 66, 78, 93, 99, 114, 146, 169, 204, 209, 287n14

box office performance, 54–55 budget, 49, 114 casting, 49–50 critical reception, 54 first act finale number, 51, 66

Fosse and Verdon’s first meeting, 50

Fosse’s financial arrangement, 49 out-of-town tryout, 51, 53–54

Tony Awards, 54

Verdon’s promotion to star billing, 54–55 Damn Yankees (film), 57–60, 67, 128 Dance director, role of, 6 “Dance at the Gym, The,” 11 Dance Hall. See Sweet Charity [musical] Dance Me a Song, 22–23, 24, 46, 54 Dance Players, 23 Dancers, 212 Dancin’, 4–5, 139, 166, 167, 181, 183, 207, 211–229, 236, 237, 246, 247, 255, 257, 259, 260, 262, 267, 269, 272, 309n28 auditions, 212 box office performance, 228–229 budget, 212 casting, 213, 301n18, 311n11 critical reception, 226, 228 design team, 213

Fosse’s financial arrangement, 214, 229 genesis and development, 211–212, 219, 222, 223–225 out-of-town tryout, 226–227 presentation of sexuality, 5, 214, 217–219, 223, 224–225, 226–227, 228, 229 structure and pace, 4–5, 223–224, 226, 227, 229

Tony Awards, 228–229 Dancing, 212 Daniele, Graciela, 200 Daniels, Danny, 144, 259 Danny Kaye Show, The, 115 Darrow, Clarence, 200 Dassin, Jules, 256 David, Hal, 164 Davis, Bruce Anthony, 260, 266, 311n11 Davis, Burton, 191 Davis, Mac, 167 Davis Jr., Sammy, 169, 232, 234 Day, Doris, 58, 61 “Day by Day,” 163 “Death of a Playmate,” 247 Deems, Mickey, 103 “Deep Down Inside,” 1–2 Deep Throat, 139 Dell, Marlene, 83 de Mille, Agnes, 8–10, 12, 23, 27, 29, 39, 63–64, 73, 78, 80, 117, 120, 123, 134, 257, 278n14, 278n19, 286n104 and dance playwrighting, 9–10 as director-choreographer, 9–10 on Fosse’s choreography, 238 psychological underpinnings of her choreography, 9, 12 requirements for dancers, 9, 23 DeMille, Cecil B., 191, 305n25 De Niro, Robert, 250 Denishawn, 20, 45 Denver, John, 167 Derbas, Frank, 56 Derricks, Cleavant, 260, 263, 265, 268 Destry Rides Again, 80, 99 DeSylva, B. G., 277n10 Devil in Miss Jones, The, 139 Devine, Loretta, 260, 263 Diamond, I. A. L., 129, 296n91 Dietrich, Marlene, 149 “Dimples,” 99, 100 Dinah Shore Chevy Show, The, 287n13 Director-choreographer, development of, 6, 8, 9–12, 124–125 Directors Guild of America (DGA), 137 Directors Guild of America (DGA) Award, 156, 161 Dix, Otto, 146–147 “Dixie,” 225 Dixon, Harland, 99, 119 Doby, Kathryn, 108, 109, 114, 119, 147, 166, 174, 175, 178, 181–182, 212, 234, 235, 242, 251, 301n18

Dolce Vita, La, 133 Donaldson, Walter, 7 Donaldson Awards, The, 48 Donen, Stanley, 27, 28, 29, 30, 58–60, 118, 129, 155, 185, 281n69 Donmar Warehouse, 157 Donnybrook!, 124 “Don’t Tell Mama,” 148 Douglass, Stephen, 50, 53 Drake, Ervin, 95 Dramatists Guild, 3, 81, 214 Draper, Paul, 17, 18, 19, 22, 26, 102 “dream ballet,” 8, 9, 39, 63–64, 134 “Dream Barre, The,” 226–227, 228 Dreamgirls, 260, 268 Dreyfuss, Richard, 233 Drivas, Robert, 1, 292n62 Drotar, Gregory B., 221 Dude, 179 Duke, Vernon, 8 Dunham, Katherine, 8 Dunphy, Paul, 24 Durante, Jimmy, 40, 44 Durgin, Cyrus, 53 Duvall, Robert, 129 Dylan, Bob, 165

Eagle of Naptown, The, 140 “Easy,” 223 Easy Rider, 137 Ebb, Fred, 2, 4, 36, 142, 157–158, 161, 162, 187, 192, 194, 199–201, 203–205, 208, 232, 235, 236, 314n38, 316–317n12 Ed Sullivan Show, The, 228 Eder, Richard, 228 Eggerth, Marta, 196 8½, 234 Elmore, Steve, 234 Emmons, Don, 293n28 Emmy Awards, 4, 161, 179, 248 Empire Room (Palmer Hotel), 22 Ending (Hilma Wolitzer), 231 “’Erbie Fitch’s Twitch,” 71–72, 122, 287n13 Erickson, Dee, 140 “Essie’s Vision,” 73–75, 79, 193 Evans, Alice, 110 Evans, Harvey, 62–63, 71, 73, 74, 77, 192, 286n103 Evening Standard Theatre Award, 127 Everly Brothers, The, 242 Evers, Medgar, 142 “Everything Old is New Again,” 239–240 Evita, 164 Ex-Lover, 107

Fade Out—Fade In, 110 “Falling in Love Again,” 149 Fame, 258, 259 Fancy Free (Jerome Robbins), 10, 27, 278n19 Fanny and Alexander, 251 Fantasticks, The, 197 Farber, David, 139 Farber, Stephen, 155, 204 Farmer Takes a Wife, The, 47 Farrell, Shellie, 83 Feld, Eliot, 213 Felix, Seymour, 7, 12, 277n8, 277n10 Fellini, Federico, 110, 112, 129, 131, 133, 147, 234, 242, 269 “Female Star Spot, The,” 224 Feuer, Cy, 47, 48, 88, 89, 91, 93, 97, 104, 144–145, 146, 150, 154, 156 Feuer and Martin, 88, 96, 97, 102–103, 107, 144 Fiddler on the Roof, 125, 141 Field, Ron, 20, 142 Fields, Dorothy, 69–70, 77, 110, 120, 122, 123–124, 126 Fields, Herbert, 69–70 “A Fine, Fine Day,” 141 Finian’s Rainbow (musical), 11 Finian’s Rainbow (film), 137 Fiorello!, 290n18 Firebird, The. See Magic Bird of Fire [Nepotism] Fisher, Amy, 207 Fisher, Jules, 168, 170–171, 175, 177, 197, 213–214, 222, 229, 234, 260, 261–262, 265

Fisher Theater, 109, 124 Flannery, Gary, 311n11 Flashdance, 255, 274 Flora, the Red Menace, 143 Florentine Gardens, 45 Flower Drum Song, 77 Foldi, Erzsebet, 239 Follies, 169, 179, 268 Foote, Gene, 166, 168–169, 197, 198, 301n18 “For No Good Reason at All,” 263 Forbidden Broadway, 268 Ford Star Revue, 25 Ford Startime. See “Wonderful World of Entertainment, The” Forrest Theatre, 201 Forsyth, Bruce, 103 46th Street Theater, 54, 66, 77, 203, 207 Fosse (musical), 6, 150, 219, 222, 273–274 Fosse, Bob. See individual show and film titles

Personal life cigarette smoking, 15, 71, 263 death of, 271–272 depression, 185 drug use, 76–77, 95, 175, 187 family background, 13–14 family encouragement in show business career, 13, 17 infidelities during marriages, 24, 115, 154, 175 interest in death, 178, 183, 235 interest in women, 24, 115, 175, 213, 248, 316n12 marriage to Gwen Verdon, 78, 89, 154, 302n42 marriage to Joan McCracken, 30, 54, 55, 69, 76 marriage to Mary Ann Niles, 19, 24–25 memorial event and dinner for friends, 272

Navy service, 18–19 relationship with Ann Reinking, 167, 218 school life and activities, 16

similarities among his wives, 19, 54, 69 Professional life - performer acting training, 26 as actor, 26–27, 28–29, 31, 43, 55, 105, 185–186 as Bobby Riff, 16 as Chicago’s “Youngest Emcee,” 16 continued interest in performing, 42, 51, 55, 58–59, 75, 82, 85, 94, 99 early dance training and first performances, 14 experience in burlesque theaters and nightclubs, 13, 15–17, 234, 316n12 Professional life – director and choreographer acting requirements for dancers, 2, 92, 114–115, 166, 175–176, 198, 201, 205 admiration for dancers, 214 affinity for Charles Chaplin, 71–72 appropriation of his dance style by others, 186–187, 274–275, 298n7, 304n5, 317n12 and the 1970s, 4, 139 as “Bert Lewis,” 114, 123 as film director, 4, 95, 128–138, 144–161, 181, 187–190, 231–246, 251–255, 274 as show doctor, 80, 256 as writer, 4, 98, 100, 110–114, 170, 181, 187–189, 194, 224, 231–233, 249–250, 252, 256–257, 263, 267, 268 auditions, 73, 97, 114–115, 165–166, 212 career regrets, 269 choreographic influences, 14–17, 20, 52–53, 71–72, 316n12 choreographic style (“Fosse style”), 3, 5, 35, 110, 136, 140–141, 167, 168, 172, 189, 193, 201, 208, 213, 237, 247, 260, 263–264, 266, 274

Fosse, Bob (cont.) competitiveness with Michael Bennett, 202, 228

Dance Magazine Award, 93, 104 dislike of ballads, 98, 122, 150, 177, 206 distrust of producers, 51, 66, 85–86, 105–106, 146, 214, 227, 262, 267 drawing on his life experiences for his art, 13, 17, 96, 98, 109, 121, 146–147, 175, 204, 223, 224, 227, 231–244, 316n12 first choreography credit, 15–16 gay references in his work, 176 hospitalization during Chicago, 198–199, 211, 231 influence as a film director, 5–6, 245–246, 255, 274–275 influences on his film directing, 129–132, 134 interest in creating a ballet, 211, 220, 237, 269 learning from George Abbott, 3, 36, 67, 203, 229 learning from Jerome Robbins, 39, 42, 67 non-traditional casting in his shows, 117, 213, 260 pre-production routine, 37, 62, 98, 115, 171, 211, 260 qualities sought in dancers, 73, 114–115, 166, 212–213, 220 sexuality in his work, 3, 5, 17, 63–67, 99–100, 139, 168, 173–176, 197–198, 199, 203, 208, 214, 217–219, 223, 224–225, 226–227, 228, 237–238, 316n12 show business as a theme in his work, 13, 17, 80–81, 102–103, 169, 170, 243–244 staging beyond the proscenium, 76, 89–90, 171, 261–262 staging non-dance numbers, 75–76, 89–90 triple crown awards, 4, 185 use of stagecraft, 74–76, 108, 110, 113, 115–116, 171, 193–194, 261–262

Verfremdungseffekt (distancing effect) in his work, 193–194, 203 work methods, 1–2, 77, 82, 96, 187, 211–212, 263 working with actors, 75, 136, 150, 188, 244 Fosse, Cyril, 13–14 Fosse, Nicole, 105, 222, 232, 239, 248, 255, 275 Fosse, Richard, 13 Fosse, Sadie, 13–14 Fosse and Niles, 2–3, 19–22, 24–25, 27, 29, 33, 97 Fosse Style, The (Debra McWaters), 309n27, 309n29, 309n31, 309n33 Four D’Arcys, The, 45 “Fourteen Feet,” 223–224 Foxcatcher, 255 Foxy, 105 Foy, Jr., Eddie, 37, 79 Franceshina, John, 32 Franciosa, Tony, 129 Frederick, Vicki, 213, 225 French Connection, The, 158, 233 Friday the 13th, 253 Friedman, Phil, 233, 234, 260 Frisco, Joe, 40, 44, 62, 99, 186, 256 From Stage to Screen: A Director’s Dilemma, 131 “From This Moment On,” 32–33, 40, 44, 56 Frum, David, 139 Fryer, Robert, 69, 112, 192, 232, 234, 294n36, 314n38 Fryer and Carr, 113 Funny Face, 277n10 Funny Girl (musical), 105–107, 125, 292n5, 292–293n10 Funny Girl (film), 137, 155–156 “Funny Honey,” 192 Funny Lady, 155–156, 300n59

Funny Thing Happened on the Way to the Forum, A, 103 Furie, Sidney J., 131

Gaertner, Belva, 190–191 Galileo (Bertolt Brecht), 24 Gallagher, Helen, 117, 126–127 Garber, Victor, 292n62 Garbo, Greta, 61 Gardner, Herb, 140, 224, 232–233, 235, 267 Gardner, Kara Anne, 9 Garfield, John, 24 Garland, Judy, 143, 149–150, 160, 173 Garrett, Betty, 43 Garry Moore Show, The, 98, 99 “Gary Owen,” 224 Gasper, Eddie, 126–127 Gates, Aaron, 277n12 Gavin, Gene, 293n28 Gayety Village, 15 Gaynor, Mitzi, 46, 50, 129 Geffner, Deborah, 236, 244 Gelbart, Larry, 80, 82, 84, 103 Geld, Gary, 164 Gennaro, Liza, 286n14 Gennaro, Peter, 1, 38, 40, 55–57, 292n62 George, Eddie, 208 Gere, Richard, 250, 259 Gershwins, the, 278n13, 290n18 “Get Happy,” 25 “Get Me Bodied,” 275 Geva, Tamara, 8 Gilbert, Willie, 88 Gilda, 20 Gilvey, John Anthony, 125 Gimbel, Norman, 82 Girl from Nantucket, The, 19 Girls Against the Boys, The, 80, 288n43 “Gisella Ballet,” 173–175, 215, 238 Give a Girl a Break, 28–30 “Give Me a Band and My Baby,” 43–44, 50, 99 “Give Me a Rain Check.” See “Rhythm of Life” Glattes, Wolfgang, 146, 251 Glorsky, Maxine, 213 “Glory,” 171–173 Godard, Jean-Luc, 58, 132 Godfather, The, 156 Godspell, 163–165 Gold, David, 71, 74, 97, 114–115, 117, 119, 286n103, 293n28 Golddiggers of 1935, The, 261 Golden Globe Awards, 156 Good News, 277n10 Goodbye Girl, The, 233 Goodman, Benny, 20–21, 216, 218, 252 Goodtime Charley, 167 Gore, Christopher, 179 Gorman, Cliff, 187, 233 Gottfried, Martin, 179 Grable, Betty, 46–47 Graduate, The, 94, 130, 132 Grant, Cary, 126, 129 Grant, Mark N., 10, 301n4 Grass, Charles, 14–16. See also Riff Brothers, The Grease, 157 Greek Theatre, 157 Green, Adolph, 10, 36, 42, 56, 269 Greenspan, Charlotte, 77 Greenwillow, 88 Greer, Michael, 196 Grey, Clifford, 7 Grey, Joel, 143, 145, 148, 151, 156, 157, 161, 167, 207, 273 Griffith, Melanie, 208, 250 Griffith, Robert, 35, 41–42, 49, 57, 58, 61 Grind, 256 Grosz, George, 146–147 Group Theatre, 26 Grubb, Kevin, 268 Guare, John, 164 Guinan, Texas, 197 Guinness, Alec, 97 Guske, William, 84 Guthrie, Arlo, 167 Guys and Dolls, 11, 88, 102 Gypsy, 15, 79, 128, 130, 287n14

Haberman, Linda, 166, 211, 214, 227, 260, 263, 265 Hackett, Buddy, 19 Hague, Albert, 69 Hail the Conquering Hero, 3, 81 Hair, 163, 164, 167, 187 Halliday, Buzz, 80 Halloween, 253 Hamill, Pete, 231, 272 Hamilton, 275, 290n18 Hamlisch, Marvin, 256 Hammerstein II, Oscar, 7–8 Haney, Carol, 24, 32–33, 36–41, 46, 48, 56, 58, 67, 103, 107, 128 “Happy Days are Here Again,” 264–265 Happy Hooker, The, 139 “Happy Hunting Horn,” 105 Harburg, E. Y. “Yip,” 9, 94 Hard Day’s Night, A, 132 Harlow, 250 Harlow, Honey, 190. See also Bruce, Honey Harnick, Sheldon, 36, 125 Harrell, Gordon Lowry, 212, 219, 260, 261, 315n54 Harris, Joseph, 127, 232, 257 Harris, Julie, 141 Harriton, Maria, 137 Hart, Lorenz, 7 Haver, Phyllis, 191 Haworth, Jill, 143 Hayworth, Rita, 20 Hazell, Hy, 108 Hefner, Hugh, 247, 248, 250–251, 254 Heim, Alan, 188, 190, 198, 232, 234, 236, 239, 241, 243, 245, 251 Hello, Dolly! (musical), 110, 124–125, 128, 152, 163 Hello, Dolly! (film), 138 “Hello, Hello There!,” 56 Hellzapoppin’, 226 Help!, 132 Hemingway, Mariel, 248, 250, 252–254 Henaghan, James, 45 Henaghan Jr., James, 45, 78, 126 Henderson, Ray, 277n10 Henderson, Spencer, 159 Henning, Doug Hepburn, Audrey, 129 “Her Is,” 38, 39, 58 Herbert, Victor, 7 “Here You Come Again,” 224 Herman, Allen, 220 Herman’s Hermits, 167 “Hernando’s Hideaway,” 17, 39, 54 Hewes, Henry, 126 “Hey, Bob Fosse,” 268 “Hey There,” 39 High Button Shoes, 36, 117 High Noon, 80 High Spirits, 110 Hill, Constance Valis, 20 Hirson, Roger O., 164, 170, 178, 180, 181, 182 Hit the Deck, 7 Hitchcock, Alfred, 128 Hitler, Adolf, 193 Hobson, Harold, 303n70 Hodges, Eddie, 79 Hoffman, Dustin, 188, 232 Hogarth, William, 175 Hold Ev’rything! A Streamlined Extravaganza in Two Parts, 15 “Hold Tight, Hold Tight,” 264, 267 Holiday Inn, 25 Holland, Anthony, 236 Holliday, Judy, 56, 287n14 Holmes, Rupert, 269 Hoogstraten, Dorothy. See Stratten, Dorothy Hook, Line, and Sinker, 18–19 Hope, Bob, 135, 140, 181 Horn & Hardart Children’s Hour, 19 Horvath, James, 309n45 Horvath, Jan, 121 “Hot Honey Rag.” See “Keep It Hot” Houston, John, 132, 150 Houston, Whitney, 260 “How Lucky Can You Get,” 156 “How Much is that Doggie in the Window?,” 61

How to Succeed in Business Without Really Trying (Shepherd Mead), 88 How to Succeed in Business Without Really Trying (musical), 3, 88–94, 95, 96, 97, 98, 101, 102, 103, 104, 144, 154, 165, 189, 204, 293n28 awards, 93 box office performance, 93 budget, 88, 114 critical reception, 92

Fosse’s entry into project, 89, 93

Fosse’s working relationship with collaborators, 93 movement style, 87, 89–92 out-of-town tryouts, 91 How to Succeed in Business Without Really Trying (film), 93–94 Howard, Peter, 202 Howard, Ron, 259 Howells, Reby, 83 Humphrey, Doris, 20 Hunter, Ross, 129 Hunter, Tab, 58, 60

I Am a Camera (John Van Druten), 141, 142, 154 I Am a Camera (film), 141 “I Believe in You,” 88 I Can Get It For You Wholesale, 105 “I Can’t Do It Alone,” 279n12 “I Could Have Danced All Night,” 94 “I Don’t Care” Girl, The, 46 “I Don’t Think I’ll End It All Today,” 94 “I Gotcha,” 159, 160, 174, 273 “I Love a Piano,” 56 “I Love to Cry at Weddings,” 297n121 I Picked a Daisy. See On a Clear Day You Can See Forever “I Say a Little Prayer,” 164 “I Wanna Be a Dancin’ Man,” 98, 215–216, 226 “If It Feels Good, Let it Ride,” 223 “If My Friends Could See Me Now,” 30, 122–123, 132–133, 218, 258, 316n12 “If You Could See Her Through My Eyes,” 142, 153 “I’ll Never Be Jealous Again,” 37 “I’m a Brass Band,” 123–124, 134–135, 141, 193 “I’m Goin’ Back,” 287n14 “I’m Not at All in Love,” 39 “I’m Sitting on Top of the World,” 265, 267 Imitation of Life, 129 Imperial Theater, 179 “In Our United State,” 29 Iñárritu, Alejandro G., 245 Indiana Jones, 254 Invitation to the Dance, 37 “Ionisation,” 220–221, 222, 229. See also “Percussion IV” Irma la Douce, 128 Isherwood, Christopher, 141, 142, 149, 154 “It,” 201 “It Was a Good Time,” 158–159 “I’ve Got Them Feelin’ Too Good Today Blues” (Jerry Leiber and Mike Stoller), 224 “I’ve Got Your Number,” 99–100, 291n43

Jack Haley Show, The, 25 Jackson, Janet, 274 Jackson, Michael, 186–187, 255, 274, 275, 304n5 Jacobs, Bernard, 227, 228, 262 Jamaica, 94 Jannings, Emil, 205 Jaws, 233 “Jealousy Ballet,” 39, 58, 63 Jeanmarie, Zizi, 50 Jerome Robbins’ Broadway, 6 Jersey Boys, 269 Jesus Christ Superstar, 164, 167 Jo Jo Dancer, Your Life is Calling, 245 Joel, Billy, 255 “Joey Looks Into the Future,” 278n14 Joffrey, Robert, 211, 237 Joffrey Ballet, 213

Johnson, Jr., Mel, 260 “Joint Endeavor,” 223, 228, 237, 309n45 Jolson, Al, 172, 173, 192, 302n40 Jones, David “Davey,” 167 Jones, Dean, 129 Jones, John Bush, 170 Jones, John Paul, 107–108 Jones, Neil, 159 Jowitt, Deborah, 221 “Julie Andrews’ Invitation to the Dance, with Rudolf Nureyev,” 291n43, 308n88 June Taylor Dancers, The, 27 Jung, Harvey, 63 “Just in Time,” 94

Kael, Pauline, 155, 189, 194, 254, 300n59 Kagemusha, 245 Kahn, Gus, 7 Kahn, Madeline, 248 Kalem, T. E., 228 Kander, John, 36, 142, 162, 192, 197, 199, 200–201, 204, 205, 208, 232, 235, 236, 314n38 Kander and Ebb, 143, 148, 150, 151, 155, 157, 160, 306n34 Kanin, Garson, 56, 107, 292n10 Karr, Patti, 73 Kasner, Kurt, 29 Katz, Mickey, 143 Kaufman, David, 268 Kaye, Danny, 46, 118 Kean, 124 “Keep It Hot,” 56, 201–202, 208. See also “Nowadays/R.S.V.P./Keep It Hot” Kelly, Gene, 19, 25, 26, 27, 28, 33, 37, 46, 60, 95, 132, 138, 144 Kelly, Kevin, 126, 267 Kelly, Paula, 129, 131, 134, 167, 213 Kennedy, Mrs. (Jacqueline), 117 Kern, Jerome, 7–8 Kerr, Walter, 228 Kidd, Michael, 4, 11–12, 20, 23, 29, 47–48, 80, 99, 124, 138, 265 Kiley, Patricia Ferrer, 59, 62, 70, 78, 83, 286n103, 289n56 Kiley, Richard, 75 Kim, Willa, 213, 220 Kind Hearts and Coronets, 97 “Kind of Woman,” 177 King, Carole, 163 King of Kings, 305n25 King Steps Out, The, 45 Kismet, 75 Kiss, 242 Kiss Me, Kate (musical), 27, 31 Kiss Me, Kate (film), 3, 31–33, 36, 37, 43 Kokich, Kazimir, 73 Korthaze, Richard, 82, 109, 166, 201, 213, 289n56, 293n28, 301n18 Krauss, Marvin, 221 Kroll, Jack, 204 Kubrick, Stanley, 146, 155, 245 Kurosawa, Akira, 245 Kyser, Kay, 19

Ladd Company, the, 249, 250 Ladd Jr., Alan, 241, 249 Lady Gaga, 162 Lahr, Bert, 80, 105 Lake, Marie, 140 Lake, Sol, 135 Lakmé (Léo Delibes), 196 Lamas, Fernando, 47 Lambert, Hugh, 89, 92, 93 “Landauers, The” (Christopher Isherwood), 144–145 Lane, Burton, 107 Lang, Harold, 27, 31 Lange, Jessica, 234 Lanier, Jane, 121 Lanning, Jerry, 232 Lansbury, Angela, 126, 128 Lapine, James, 268 Larkin, Peter, 213, 260, 261–262, 265 Larrimore, Francine, 191 Larson, Jonathan, 301n4 Last Picture Show, The, 248 Latin Quarter, 20 LaTouche, John, 8

Laughton, Charles, 24 Laurenson, Diane, 120, 166, 217, 222, 260, 271, 309n33, 309n37, 315n70 Laurents, Arthur, 10–11 “Laurey Makes Up Her Mind,” 9, 63, 278n14 Law and Order, 209 Lawrence, Jerome, 10 League of New York Theatres, The, 97 Leakes, NeNe, 208 Leave It to Me!, 48 Lebowsky, Stanley, 203, 234, 236 Le Clercq, Tanaquil, 57 Lee, Robert E., 10 Lee, Sammy, 7, 12, 277n10, 277n12 Legs, 259 Leigh, Carolyn, 1, 97 Leigh, Janet, 43 LeMassena, William, 234 Lemmon, Jack, 88 Lennart, Isobel, 105–106 Lennon, John, 231 Lenny (Julian Barry), 187 Lenny (film), 4, 17, 187–190, 198, 231, 232, 246, 251, 253, 263 box office performance, 189 casting, 188 critical reception, 189 editing style, 188

Fosse’s contribution to screenplay, 188–189

Fosse’s kinship with Lenny Bruce, 187 structure and pace, 188 Leopold and Loeb, 200 Lerman, Leo, 66, 92, 102, 104 Lerner, Alan Jay, 9, 107, 142 LeRoy, Mervyn, 130 Lester, Richard, 132 “Let Me Entertain You,” 79 “Let the Good Times Roll” (Shirley Goodman and Leonard Lee), 171, 302n37 Leve, James, 169–170 Levine, Debra, 219 Lewis, Albert, 8 Lewis Jr., Alde, 260, 264 Lewis, Huey, 208 Lewis, Jerry, 25, 100 Lewis, Ted, 199 Life and Adventures of Nicholas Nickleby, The, 250 “Life is Just a Bowl of Cherries,” 261, 263, 273, 317n12 Li’l Abner, 11–12 Lillie, Beatrice, 69 Lilo, 47–48 “Limehouse Blues,” 20–21, 25 Limon, Jose, 26 Linklater, Richard, 255 Linton, Betty, 83 Lithgow, John, 244 “Little Bit of Good, A,” 193 “Little Brains, a Little Talent, A,” 54 Little Egypt, 15, 202, 279n12 Little Me (Patrick Dennis), 1, 96, 97 Little Me (musical), 1, 3, 96–104, 110, 127, 144, 154, 189, 253 auditions, 97 box office performance, 101–102, 103 casting, 96–98, 293n28 critical reception, 101–102 financial performance, 103

Fosse’s borrowing steps from other shows, 98–99, 100

Fosse’s co-direction with Feuer, 97

London production, 103

Out-of-town tryouts, 101–102

SSDC agreement, 97

Tony Awards, 97 Little Me (1982 revival), 1–2, 5, 292n62 Little Me (1998 revival), 292n62 Little Night Music, A, 113, 179 Little Prince, The (Saint-Exupéry), 185 Little Prince, The (film), 185–187, 246, 304n5 Little Show, The, 22–23 Littlefield Ballet School, 23 Livent, 273 Liza, 157 Liza Minnelli at the Winter Garden, 185

Liza with a Z, 4, 139, 157–162, 174, 179, 185, 192, 246, 251, 273, 300n72 Lloyd Webber, Andrew, 164, 259, 301n4 Loesser, Frank, 36, 88, 89, 91, 92, 93, 104, 107–109, 165 Loewe, Frederick, 9 “Look for the Silver Lining,” 192–193 “Loopin’ the Loop,” 201 Loring, Eugene, 23, 80 Los Angeles Civic Light Opera, 257 Louise, Tina, 97 Love, Edward, 213, 221 Love Life, 142–143 “Lullabye of Broadway,” 261 Lumet, Sidney, 117 Lunt-Fontanne Theater, 102 Lyceum Theater, 158

M*A*S*H, 259 MacDermot, Galt, 163, 164, 179, 301n4 MacDonald, Jeanette, 177 MacLaine, Shirley, 38, 128, 129, 130, 132, 134, 136, 139, 233, 273 Madonna, 162, 274 Magdalena (Heitor Villa-Lobos), 46 Magic Bird of Fire (Nepotism), 255 Magic Mike, 274 “Magic to Do,” 79, 167–169, 182 Magnum, P. I., 259 Mahoney, Billie, 87 Make Mine Manhattan, 21–22, 97 Malcolm X, 142 Maltby, Jr., Richard, 273 Mame, 126, 128 Mamma Mia!, 269 “Mammy,” 173 Mamoulian, Rouben, 8, 278n13 Manchester, Melissa, 223 Mandelbaum, Ken, 170 Manhattan, 250 “Manic Depressive’s Lament, A,” 224 Mankiewicz, Joseph L., 144, 155 Manson, Charles, 172, 198 Manson, Allison Reneé, 121 “Manson Trio, The,” 171–173, 179, 182, 273, 316n12 “Many a New Day,” 9, 23 Marathon Man, 233 Marceau, Marcel, 108, 118 Marcy, George, 51 Marks, Alfred, 108 Marr, Sally, 187 Marre, Albert, 85 Marsh, Reginald, 195 Marshall, Larry, 260 Marshall, Marion, 118 Marshall, Rob, 151, 157, 181, 274, 292n62, 315n58 Martin, Barney, 196, 205 Martin, Dean, 25 Martin, Ernest, 47, 88 Martin, George and Ethel, 46, 105 Martin, Hugh, 10 Martin, John, 12, 46 Martin, Mary, 48, 60, 69 Martin, Virginia, 88, 97–98 Marty, 111 Marx, Groucho, 122 Mary Poppins, 128, 129 Masina, Giulietta, 112 Maslin, Janet, 240 Masteroff, Joe, 142 Mastrocola, Frank, 260, 266 Mattox, Matt, 46 May, Elaine, 113 “Maybe This Time,” 150–151, 156, 161 MCA, 140 McCarthy, Joseph, 277n10 McCarty, Mary, 196, 205, 213, 234 McCracken, Joan acting career, 24, 95 affair with Fosse, 24, 25–26 and Dance Me a Song, 23, 24 and Fosse’s affair with Verdon, 54 and New Girl in Town, 67 and Oklahoma!, 9, 23, 280n45 as dancing actress, 23–24, 66 early career and dance training, 23 encouragement of Fosse, 25–26, 27, 54, 62, 95 health issues, 24, 55, 95 impact of her death on Fosse, 95–96

“Joan McCracken types,” 24 marriage to Fosse, 30, 54, 55, 69, 76 professional support for Fosse, 36, 95 thoughts on filming dance, 132 McGuire, William Anthony, 277n8 McKayle, Donald, 75 McKechnie, Donna, 92, 167, 271 McLerie, Allyn Ann, 78 McMartin, John, 108, 117, 123, 126, 129 Me and Juliet, 36, 50 “Me and My Baby,” 192, 203, 205, 206, 308n88 “Me and My Shadow,” 264, 269 Meet Me After the Show, 47 “Mein Herr,” 65, 148–150, 153, 273, 300n72, 316n12 Meisner, Sanford, 24, 26, 62, 64 Melnick, Daniel, 232, 233, 245 Memphis Jookin’, 275 Mendes, Sam, 157 Menendez Brothers, 207 Mercer, Johnny, 16, 215 “Merely Marvelous,” 73 Meri, La, 46 Merlin, 260 Merman, Ethel, 60, 128, 244 Merrick, David, 105 Merrill, Bob, 61–62, 105, 292n10 Merry Widow, The, 47 “Mexican Breakfast,” 140–141, 275, 298n7 “Mexican Shuffle,” 135–136 MGM, 3, 26, 27, 30, 31, 36, 37, 42, 43, 46, 47, 58, 61, 94, 185, 215 Middle of the Night, 111 Midler, Bette, 167 Midnight Cowboy, 137 Midnight Special, 242 Mielziner, Jo, 9–10 Milk and Honey, 93 Miller, Ann, 31–32 Miller, Bennett, 255 Miller, Buzz, 36, 40, 41, 46 Miller, Glenn, 265 Miller, Marilyn, 192 Mineo, John, 166, 213, 301n18 Minnelli, Liza, 4, 143, 145, 148–150, 151, 153, 155, 156, 157–162, 185, 205–206, 248, 299n37, 300n59, 300n71, 300n72 Minnelli, Vincente, 143, 155 Minskoff, Jerome, 262 Minskoff Theater, 268 Miranda, Lin-Manuel, 275 Misérables, Les, 207, 208 Miss Liberty, 78 “Mister Cellophane,” 193, 204 Mitchell, Julian, 7, 12 Moiseyev, Igor (Moiseyev Dance Company), 109 “Money, Money,” 151, 161 Monicelli, Mario, 256 Monkees, the, 167 Monroe, Marilyn, 67 Montgomery, Robert, 118 Moonwalk, 186, 275 Moore, Garry, 115 Mordden, Ethan, 7–8, 193 Moreda, Dale, 74, 93, 293n28 Moreno, Rita, 129 Morgan, Helen, 192 Morse, Robert, 88, 91, 93 Most Happy Fella, The, 88 Mostel, Zero, 103 Motown, 301n4 Moulin Rouge (1952), 132, 150 “Mr. Bojangles” (Jerry Jeff Walker), 222–223, 316n12 MTV, 150, 259, 274 “Mu-Cha-Cha,” 56–57, 92, 94, 141 Murray, Mary Gordon, 2, 292n62 “Muscle, the,” 1, 2, 3, 6, 9, 12, 69, 86, 87, 91, 106, 107, 129, 177, 188, 195, 247, 248, 263, 275 Music Box Theater, 191 Music Man, The, 78 My Fair Lady (musical), 78, 93, 102 My Fair Lady (film), 128 “My Heart Belongs to Daddy,” 48 My One and Only, 268 “My Own Best Friend,” 205–206

“My Personal Property,” 136–137 My Sister Eileen (Joseph Fields and Jerome Chodorov), 42 My Sister Eileen (Ruth McKenney), 42 My Sister Eileen (film), 42–44, 50, 99, 128, 265, 280n42 Mystery of Edwin Drood, The, 269

Nadel, Norman, 101 Nairn-Smith, Jennifer, 166, 174, 232, 311n11 “Narcissistic Tango, The,” 87, 99 Nash, Ogden, 9 Nashville, 233 National Board of Review, 156 National Theater, 271 Native Dancer, 70 NBC, 77, 161–162, 244 Nederlander Organization, 255 Neighborhood Playhouse, 24, 26 Nemetz, Lenora, 196, 206 Neuwirth, Bebe, 121, 207, 274 New Girl in Town, 3, 61–67, 73, 78, 80, 98, 105, 110, 135, 149, 154, 204, 238, 286n104, 317n12 background and plot, 61 budget, 61, 114 casting, 61–62, 67, 293n28 choreography, 62–67 critical reception, 66

Fosse’s conflicts with Abbott and Prince, 3, 63–67, 69, 238

Tony Awards, 67 understudies and replacements for Verdon, 66, 67 New Group, The, 127 “New Man,” 256 “New Town is a Blue Town, A,” 39 New York City Center, 87, 105 New York City Center Encores!, 206–207 New York Drama Critics’ Circle Award, 93, 144 New York, New York, 153 New York Shakespeare Festival, 202 Newman, Randy, 157 Next to Normal, 290n18 Nicholas Brothers, The, 15 Nichols, Mike, 132 Nichols, Nichelle, 129 Night of the Living Dead, 242 Nights of Cabiria, 110, 112, 113, 129, 130, 256 Nikolais, Alwin, 223–224 Niles, Mary Ann (Marian), 3, 19–20, 21–22, 24–25, 29, 33, 54, 69, 273 Nilsson, Harry, 171 “No,” 201 No, No, Nanette, 166 No Strings, 93 “No Talent Joe,” 47 “No Time at All,” 176–177 “Nobody,” 193, 205 Noone, Peter, 167 North, Sheree, 67 “Nothing is Impossible,” 29 “Nowadays,” 151, 201, 259 “Nowadays/R.S.V.P./Keep It Hot,” 201, 287n14 “Now’s the Time to Fall in Love,” 262 Nureyev, Rudolf, 291n43 Nykvist, Sven, 251 N.Y./L.A., 234, 239, 241–243 Nyro, Laura, 163

O’Brien, W. W., 191 Of Thee I Sing, 290n18 Oh, Kay!, 277n10 O’Haughey, Michael, 196, 205 O’Horgan, Tom, 187 Oklahoma! (musical), 8–9, 23, 53, 63, 64, 80, 120, 223, 278n19 Oklahoma! (film), 42 Oliver! (musical), 103 Oliver! (film), 117 Oliver, Thelma, 117, 129 On a Clear Day You Can See Forever, 107, 144 “On Broadway,” 235–236, 255 “On the Right Track,” 177–178 On the Riviera, 46

On the Town (musical), 10, 36, 78, 278n19 On the Town (film), 28, 37 On Your Toes, 8 “Once a Year Day,” 38–39, 43, 58 Once There Was a Russian (Sam Spewack), 107 One Touch of Venus, 9, 78 O’Neal, Tatum, 248 O’Neill, Eugene, 3, 61, 62, 66, 67 Orbach, Jerry, 196, 200, 205, 206, 209, 234 Ostrow, Stuart, 165, 177, 178, 179, 180–181 Out of This World, 32 Over Here!, 167

Paige, Janis, 37, 39, 58 Paine, Thomas, 224 Pajama Game, The (musical), 3, 23, 35–42, 50, 51, 54, 55, 62, 66, 93, 98, 114, 128, 189, 229 background and plot, 35–36 box office performance, 42 budget, 36, 49, 114 casting, 37, 293n28 critical reception, 42

Fosse and Robbins’s friendship, 42

Fosse’s hiring, 3, 36–37

Fosse’s learning from Robbins, 39, 42

Tony Awards, 42 Pajama Game, The (film), 57–58, 60, 61, 128, 285n77 Pal Joey (John O’Hara), 26 Pal Joey (musical), 10, 26–28, 36, 55, 58, 87, 99, 105, 117, 154, 278n14 critical response to Fosse’s performance, 27, 105

Fosse’s choreography, 87, 105

Fosse’s similarities with Joey, 26–27 Pal Joey (film), 43 Palace Theater, 123, 125, 173, 181, 235, 272 Palme d’Or, 245 Palmer, Leland, 108, 167, 233 Pan, Hermes, 31–32 Paper Moon, 248 Papp, Joseph, 203 Paramount Pictures, 81 Parenti, Noel, 74 “Paris Original,” 89 Parton, Dolly, 224 Partridge Family, The, 167 Patinkin, Mandy, 250 Patterson, Floyd, 118 Paulus, Diane, 182 Pawnbroker, The, 117 Payne, Freda, 167 Payne Whitney Psychiatric Clinic, 185 Peabody Award, 161 Peacock, Michon, 196, 200, 205 Peggy-Ann, 7 Pelish, Thelma, 38 “People,” 106–107, 292–293n10 “Percussion I,” 219 “Percussion II,” 219 “Percussion III,” 219–220, 221 “Percussion IV,” 222. See also “Ionisation” Perkins, Anthony, 129 Perlman, Jack, 93, 140 Perrine, Valerie, 188, 190, 232, 248 Perron, Wendy, 228 Perry, Katy, 162 Persona, 251 Personal Best, 250 Peter Pan, 42 Pettiford, Valarie, 213, 260, 264, 315n69 Phantom of the Opera, The, 207, 208 Phillips, Eddie, 51, 54, 62, 63 “Piano Solo,” 218 “Pick-Pocket Tango, The,” 72 Picker, David, 188, 232–233 Pillow Talk, 129 Pippin (musical), 4, 155, 163–183, 189, 193, 196, 197, 212, 213, 214, 215, 228, 229, 232, 238, 243, 246, 260, 263, 272, 275 as concept musical, 169–170 as reflection of contemporary culture and politics, 139, 164, 170, 173, 179, 187

Pippin (musical) (cont.) auditions, 165 – 166 , 212 box offi ce performance, 179 casting, 166 – 167 , 311n11 confl icts between Fosse and Schwartz, 4 , 167 , 170 , 176 – 177 , 178 – 179 , 180 , 182 costume design, 168 , 170 critical response, 179 , 303n70 design team, 170 – 171 dispute over Schwartz’s revisions, 180 – 181 ending, 178 – 179 , 180 , 182 Fosse’s identifi cation with show’s themes, 175 Fosse’s interest in the show, 165 Fosse’s presentation of sexuality on stage, 173 – 176 lighting design, 167 – 168 , 173 , 177 , 193 pop- rock musicals of the period, 163 – 164 , 179 set design, 171 , 177 show business references, 171 – 173 , 302n40 structure and tone, 164 , 168 – 169 , 193 television commercial, 179 Tony Awards, 4 , 156 , 179 Pippin (proposed fi lm), 181 Pippin (2013 revival), 182 – 183 , 275 Pippin (television), 181 – 182 Pippin Pippin . See Pippin [musical] Plain and Fancy , 69 Plane, Liane, 73 Playboy , 5 , 139 , 244 , 247 – 254 Pleasures and Palaces , 107 , 108 – 110 , 114 , 117 , 154 Plume de Ma Tante, La , 77 “Pony Dance,” 63 , 80 “Poor Little Hollywood Star,” 98 Pope, Stephanie, 121 Porgy and Bess , 169 , 278n13 Porter, Cole, 31 , 32 , 211 Portrait of a Showgirl , 247 Portrait of the Journalist Sylvia von Harden (Otto Dix), 147 Poston, Tom, 82 , 85 Potemkin, Grigori, 107 – 109 Potter, Dennis, 239 Present Arms , 277n10 Price, Joe, 29 , 33 , 44 Prima, Louis, 212 Prince, Faith, 292n62 Prince, Harold, 2 , 4 , 55 , 85 , 86 , 232 , 238 , 268 and Cabaret (musical), 4 , 141 – 144 , 153 , 157 , 204 and concept musicals, 142 – 143 , 169 and Damn Yankees (musical), 49 – 51 , 146 and Grind , 256 and New Girl in Town , 3 , 61 – 66 and Pajama Game, Th e (musical), 35 – 42 and Pajama Game, Th e (fi lm), 57 – 58 Producers, Th e , 99 “Prologue (Hot Summer Night)” (Neil Diamond), 214 – 215 , 226 Promises, Promises , 164 , 196 Provine, Dorothy, 97 – 98 Prowse, Juliet, 126 – 127 , 129 Prud’homme, Cameron, 62 Pryor, Richard, 245 Pulitzer Prize, 93 , 247 , 290n18 Purlie , 164 “Put On Your Sunday Clothes,” 125 “Put the Blame on Mame,” 20

Queen Latifah, 151 Quick, Louise, 147 Quillin, Mimi, 121 , 258

“Racing With the Clock,” 39 Radio City Music Hall, 7 , 23 , 36 , 58 , 94 , 260 Rado, James, 163 , 164 Rae, Charlotte, 37 Ragni, Gerome, 163 , 164 , 179 Rainbow Room, 20 Raitt, John, 37 , 39 , 50

Rall, Tommy, 31–32, 43–44, 80, 94, 265, 280n12 “Rally ’Round the Flag,” 225 Ramone, Phil, 164, 260 Rand, Sally, 16, 192, 199 Randolph, Robert, 110, 115–116, 126, 258 Ray, Ellen, 56–57 “Razzle Dazzle,” 200, 203, 204, 238, 316n12 Real Housewives of Atlanta, The, 208 “Real Live Girl,” 102 Reams, Lee Roy, 119, 135–136 Reaux, Roumel, 260, 266 “Recollections of an Old Dancer.” See “Mr. Bojangles” “Red Light Ballet,” 3, 63–67, 72, 84, 110, 120, 149, 223, 238, 286n103, 286n104, 316n12 Redford, Robert, 129 Redhead, 3, 69–79, 80, 81, 82, 86, 102, 106, 112, 113, 115, 117, 121, 122, 124, 154, 189, 193, 195, 204, 234, 287n2 as showcase for Verdon, 70–71, 73–75, 77–79 auditions, 73 budget, 77 casting, 73, 75, 293n28 critical reception, 77 dance ensemble, 73 development and plot, 70–71

Fosse as director-choreographer, 3, 69–70, 75–76

Fosse’s contribution to the book, 70

Fosse’s drug use, 76–77 out-of-town tryouts, 76–77 stand-by for Verdon, 78

Tony Awards, 77 Reed, Alaina, 213 Rees, Roger, 250 Reilly, Charles Nelson, 88 Reiner, Carl, 19 Reinking, Ann, 43, 215, 239, 248 auditioning for Fosse, 166 and All That Jazz, 167, 232–233, 242

and Chicago, 192, 206, 301n18, 308n88 and Chicago (1996 revival), 192, 206–207 and Dancin’, 213, 218, 221 and Fosse, 273–274 and influence on Fosse’s choreography, 94, 167, 206, 218 and Pippin, 166–167, 174 and relationship with Fosse, 167, 218 and Sweet Charity (1986 revival), 271 Rent, 207, 290n18 Requiem for a Dream, 245 Resistible Rise of Arturo Ui, The (Bertolt Brecht), 193 Reynolds, Debbie, 28, 29, 30, 31 “Rhythm of Life,” 124, 297n121 Rice, Tim, 164 Rich, Frank, 11, 197, 267, 268 “Rich Kids’ Rag,” 100–101, 273 “Rich Man’s Frug,” 99, 118–119, 123, 125, 133, 160, 242, 258, 266, 273, 275 Richard Rodgers Theater, 207 Richardson, Desmond, 222 Richardson, Kevin, 208 Riff Brothers, The, 14–16, 33, 100, 218 Rififi, 256 “Right Finger of My Left Hand, The,” 76 Riley, Charles “Lil Buck,” 275 Ring Them Bells! (Paul Zindel), 300n71 “Ring Them Bells,” 160, 185, 300n71 Rio Rita, 277n10 Rise and Fall of the Broadway Musical, The (Mark N. Grant), 301n4 Ritter, Thelma, 62, 67 Rivera, Chita, 48, 125, 127, 129, 131, 134, 195, 196, 201–202, 203, 205, 206, 213, 259, 260, 272, 273, 279n12 Roadshow!: The Fall of Film Musicals in the 1960s (Matthew Kennedy), 296n88 Robbins, Jerome, 2, 3, 4, 6, 20, 23, 27, 29, 73, 78, 86, 102, 117, 269 and Bells Are Ringing, 56–57

Robbins, Jerome (cont.) and Fiddler on the Roof , 125 , 141 and Funny Girl , 105 – 107 , 125 , 292n5 , 292n10 and Look Ma, I’m Dancin’ , 10 and Pajama Game, Th e , 3 , 37 , 39 – 40 and West Side Story (musical), 10 – 11 , 69 , 79 , 81 , 104 , 125 , 141 , 143 , 258 , 278n19 and West Side Story (fi lm), 130 as director- choreographer, 10 – 12 , 124 – 125 , 141 infl uence on Fosse, 3 , 39 , 42 , 60 , 67 , 135 working with George Abbott, 10 , 36 , 41 Roberts, Eric, 249 – 250 , 252 – 253 Robertson, Cliff , 251 , 253 Robin, Leo, 7 Robinson, Bill, 222 Rock, Chris, 245 Rockettes, Th e, 259 , 260 Rodeo (Agnes de Mille), 55 , 278n19 Rodgers, Richard, 7 , 8 , 107 Rodgers and Hammerstein, 9 , 69 , 110 , 142 Rodgers and Hart, 8 , 26 , 277n10 , 278n14 Rogers, Ginger, 31 , 190 Roizman, Owen, 158 “Roll Yer Socks Up,” 62 , 105 , 285n99 Rome, Harold, 19 Romeo and Juliet (William Shakespeare), 10 Romero, Alex, 31 Ronde, La , 223 Room Service , 35 Rose, Th e , 255 Rosemary’s Baby , 140 Rosenberg, Phil, 234 , 245 Rosenthal, Jean, 125 , 143 “Rose’s Turn,” 287n14 Ross, Herbert, 155 , 232 Ross, Jerry, 36 , 40 , 51 , 54 , 61 Rotunno, Giuseppe, 234 , 251 Roundabout Th eatre Company, 157 , 292n62 Rounds, David, 196 , 203 Rowan and Martin’s Laugh - In , 158 “Roxie,” 197 , 200 , 205 , 314n58 , 316n12 Roxie Hart , 190 , 192 Royal Shakespeare Company, 250 Royal Wedding , 28 , 30 Royale Th eater, 24 Rubenstein, Arthur, 167 Rubinstein, John, 167 , 174 Ruff , Alton, 286n103 Ruick, Barbara, 31 Runyon, Damon, 35 , 116 Russell, Craig, 196 Russell, George, 266 Russell, Rosalind, 36 , 42 , 79 Ruvolo, Danny, 241 , 311n11 Ryan, Charlene, 119 , 200

Saddler, Donald, 198 Sager, Carol Bayer, 223 Sagolla, Lisa Jo, 24 “Sally Bowles” (Christopher Isherwood), 145 Salmon, Scott, 259 Satie, Erik, 212 , 227 Saturday Night Fever , 226 , 255 “Saturday Night in Central Park,” 21 – 22 Savage, Blaine, 221 Savalas, Telly, 251 Scheider, Roy, 233 , 236 , 245 Schickel, Richard, 254 Schifrin, Lalo, 135 Schirmer, Jr., Gus, 26 , 87 Schoenfeld, Gerald, 227 , 262 School of American Ballet, 23 Schulman, Bruce J., 139 Schwartz, Stephen, 4 , 163 , 164 , 167 , 168 , 170 , 171 , 173 , 176 – 177 , 178 – 179 , 180 – 181 , 182 , 238 , 301n4 Schwinn, Ron, 212 Scorsese, Martin, 153 , 252 Scott, Bonnie, 88

Season, The (William Goldman), 1 Seasons of Youth (ABC), 94–95 “Secretary is Not a Toy, A,” 91–92, 93–94, 99, 141, 236, 273 Seinfeld, 196 Seinfeld, Jerry, 196 Seitz, Matt Zoller, 245 “Senors Loco,” 55–56 7½ Cents (Richard Bissell), 35 “7½ Cents,” 39, 56 Seven Descents of Myrtle, The (Tennessee Williams), 130 Seven Little Foys, 37 1776, 165, 179 Sex and the Single Girl (Helen Gurley Brown), 110 Shakespeare, William, 49 Shane, 80 Shankar, Uday, 46 Sharaff, Irene, 126 Sharma, Barbara, 101, 108, 119 Sharpe, John, 1, 119 Shaw, David, 70 Shaw, Reta, 37, 38 Shaw, Vivian, 112 Shaw, Wini, 261 Shawn, Ted, 20 Sheehan, David, 181–182 Sheldon, Sidney, 70 Shepherd, Cybill, 248 Sherman, Lee, 22 Shevelove, Burt, 103 Shewey, Don, 226 “Shoeless Joe From Hannibal Mo,” 52, 60 Short, Martin, 292n62 Show Boat, 7–8, 277n10, 277n12 Shtier, Rachel, 15 Shubert Organization, 212, 213, 227, 262, 267 Shubert Theater, 202, 228 Shurtleff, Michael, 167, 196 Silver Cloud, 234 Silverman, Leigh, 127 Simon, Carly, 167 Simon, John, 268 Simon, Neil, 1, 4, 82, 96, 98, 103, 104, 110, 114, 116–117, 123, 126, 145, 170, 263 Simple Simon, 7 Simpson, Ashlee, 208 Simpson, O.J., 207 Sinatra, Frank, 238 “Sing, Sing, Sing,” 20–21, 216–219, 226, 229, 252, 266, 273, 309n28, 309n35, 316n12 Singin’ in the Rain (musical), 269 Singin’ in the Rain (film), 28, 37, 95 Singing Detective, The (BBC), 239 “Single Ladies,” 275, 298n7 Slapsie Maxie’s, 45 Slip, Slap and Slide, 15 “Small Talk,” 39 Smile (musical), 256 Smith, Kate, 79 Smuin, Michael, 101 “A Snake in the Grass,” 185–187 Snider, Paul, 247–254 So You Think You Can Dance?, 275 Society of Stage Directors and Choreographers (SSDC), 97 Sokolow, Anna, 26 Solen, Paul, 166, 301n18 Some Came Running, 128 Some Like it Hot, 129 “Some of These Days,” 240 “Son of a Preacher Man,” 159–160, 174 “Sonata for Violin Solo, No. 4”, 226 Sondheim, Stephen, 10–11, 42, 143, 144, 169, 268, 301n4 Sound of Music, The, 128, 136, 157 Sousa, Pamela, 166, 174, 179, 200, 301n18 South Pacific, 290n18 Spangler, David, 165 Spartacus, 130 Spewack, Sam, 107–108 Spider-Man Turn Off the Dark, 262 Spielberg, Steven, 233, 245, 259 Springer, Jerry, 208 Springfield, Dusty, 159 St. Denis, Ruth, 20

St. James Theater, 41 Stanton, Harry Dean, 250 “Steam Heat,” 3, 40–41, 43, 44, 51, 54, 55, 58, 72, 273 Stand Up, The, 233 Stanislavsky, Konstantin, 10, 107 Star!, 137 Star 80, 5, 17, 249–255, 263, 269

Bogdanovich’s objections to the film, 250, 253–254 box office performance, 5, 254 budget, 249 casting, 248, 250–251

Chayefsky’s contributions to script, 249 critical reception, 5, 254 final sequence, 252–253

“Fosse time,” 253

Fosse’s financial arrangement, 249

Fosse’s identification with Paul Snider, 249

Fosse’s research, 249–250 legal issues surrounding the film, 249–250, 253 locations, scouting and shooting, 251–253 parallels with Fosse’s life and career, 248–249 screenplay, 249–250, 252, 255 violence, 252–254, 255 Star is Born, A (1954), 95 Star Trek, 129 Star Wars, 254 Stark, Ray, 105–107 Stars and Stripes (George Balanchine), 224 “Stars and Stripes Forever,” 14, 225 Staying Alive, 274 Stein, Joseph, 125 Stempel, Larry, 125, 143, 277n10 Step Brothers, The, 15 Step Up, 274 “Steppin’ Out With My Baby,” 25 Stevens, Cat, 212, 223 Stevens, Tony, 199, 203 Stevenson, Robert Louis, 14 Stewart, Edward, 245 Stojko, Elvis, 208 Stone, Peter, 129, 281n69 “Stout Hearted Men,” 224–225 Strada, La, 112 Stradling, Harry, 58 “Stranger in Paradise,” 75 Stratten, Dorothy, 5, 17, 247–254, 314n21 Strauss, Ron, 163 Stravinsky, Igor, 255 Streetcar Named Desire, A, 75 “Streets of Lardeo, The,” 80, 82, 83 Streisand, Barbra, 105–107, 155–156, 292n5, 292n7, 292–293n10, 300n59 Stroman, Susan, 99, 198, 309n35 Strouse, Charles, 164 Sturges, Preston, 3, 81 Styne, Jule, 56, 105–106, 292–293n10 Subways Are for Sleeping, 124 Sullivan, Dan, 258 Sullivan, Ed, 56, 140–141, 192 Sullivan, Rita A., 220 Sunday in the Park with George, 268, 290n18 Sunset Boulevard, 207 “Sunshine Girl, The,” 62 Surtees, Bruce, 188 Surtees, Robert, 130–131, 135, 146, 188 Sweeney Todd, 113 Sweet Charity (musical), 3–4, 99, 110–128, 137, 147, 154, 176, 189, 193, 195, 209, 215, 228, 237, 262, 263, 286n104 as a reflection of cultural changes, 3, 110 as a return for Verdon, 110, 115 as concept musical, 125, 143 box office performance, 123, 126–127 budget, 114, 126 casting, 117 critical reception, 126 dance ensemble, 114, 117

Dance Hall as early basis for show, 111–113

dance language for Charity, 116, 122, 141 demands on Verdon, 121, 126–127 ending, 113–114, 117, 126, 127

Fosse’s adaptation from Fellini, 3–4, 110–114, 294n41

Fosse’s staging, 110, 113, 115, 124–125, 126, 193 out-of-town tryouts, 123–124

Simon as librettist, 110, 114, 116–117, 123, 126 subsequent productions, 126–127

Tony Awards, 126

Verdon’s contract, 114 Sweet Charity (film), 128–140, 146, 147, 157, 167, 181, 188, 195, 213, 257, 297n121

Academy Awards, 138 and G rating, 129, 135, 138 box office performance, 4, 137–138, 139, 144 casting, 129, 130 critical reception, 4, 137 ending, 134, 296n91, 297n107 film rights sold, 128

Fosse’s billing, 137

Fosse’s hiring as director, 128 location shooting, 134, 136–137 other filmmakers studied by Fosse, 129–132, 134 preview responses, 136–137 screenplay, 129, 138, 296n91 visual style, 4, 60, 129, 135, 136–138 Sweet Charity (1986 revival), 127, 207, 257–259, 268–269, 271–272 Swenson, Swen, 99–100 Swift, David, 93 Swing, 309n35

“Take Off With Us,” 91, 236–238, 241, 273 Talent ’52, 27, 28, 36 Taliaferro, Dean, 73 Taming of the Shrew, The (William Shakespeare), 31 “Tap Dance,” 201 Tap Dance Kid, The, 259 Tate, Sharon, 172 Taylor, James, 163 Taylor-Corbett, Lynn, 309n35 “Tea for Two,” 165–166, 212, 235 “Tears of Joy,” 109–110 Tebelak, John-Michael, 163 “Ten Percent,” 203 Ter-Arutunian, Rouben, 61, 76 Terry, Walter, 20, 39, 101 Tesich, Steve, 140 Tex, Joe, 159 “That Old Black Magic,” 15–16 Theatre World Award, 167 “There Ain’t No Flies On Me,” 63, 285n99, 317n12 “There Once Was a Man,” 39 “There’ll Be Some Changes Made,” 240 “There’s Gotta Be Something Better Than This,” 133–134 “There’s No Business Like Show Business,” 244 “There’s Nothing Like Love,” 43 They All Laughed, 248 Thomas, Marlo, 232–233 Thompson, Kay, 160 Thompson, Merritt, 103 Thoroughly Modern Millie, 129, 137 Thousand Clowns, A, 140 Three Men on a Horse, 35 Threepenny Opera, The, 193 Tierney, Harry, 277n10 Tiller, John, 7, 152, 277n10 “Tiller Girls,” 7, 152–153 Time of Your Life, The (William Saroyan), 26 Tipmore, David, 155 Tobias, Fred, 236 Today Show, The, 244 “Tom, Dick or Harry,” 31–32 “Tomorrow Belongs to Me,” 152 Toni Twins Time, 25 Tony Awards, 4, 48, 67, 105, 117, 126, 144, 156, 167, 187, 206, 228–229, 248, 259, 260, 268–269, 271, 272

Too Many Girls, 10 “Too Many Tomorrows,” 122 Top Five, 245 Toulouse-Lautrec, Henri de, 132 Tovar, Candace, 311n11 Trapper John, M. D., 259 “Trois Gymnopédies,” 227 “Trombone Solo,” 217–218 Truffaut, Francois, 132 “Trumpet Solo,” 218 Tucker, Earl “Snake Hips,” 99 Tucker, Sophie, 203, 240 Tudor, Anthony, 10 Tune, Tommy, 69, 268 Turner, Lana, 47 Twentieth Century, 35 Twentieth Century-Fox, 46, 115, 241, 244 Two for the Road, 130 Two Gentlemen of Verona, 163 “Two Ladies,” 152 “Two Lost Souls,” 49, 52–53, 54, 60, 266, 287n14 2001: A Space Odyssey, 146 Tyler, Jeanne, 29

Udell, Peter, 164 “Uncle Sam Rag,” 75, 316n12 “Under the Double Eagle,” 224 United Artists, 188 Universal Pictures, 128, 129, 130, 137, 138, 256 Unsworth, Geoffrey, 146, 149, 150, 156 Urmston, Ken, 212 Urson, Frank, 191, 305n25 Usher, 208 Utt, Kenneth, 251

Vagabond King, The, 303n70 Valentino, Rudolph, 50, 205 Vallee, Rudy, 88, 91, 93, 192, 199 Van, Bobby, 31–32 Van Dyke, Dick, 80 Van Peebles, Melvin, 164 Varèse, Edgard, 220–222 vaudeville, 15 Vera-Ellen, 28 Verdon, Gertrude, 44–45, 78 Verdon, Gwen, 2, 167, 214, 218, 220, 232, 233, 235, 237, 239, 255, 271, 273–274, 275, 287n13, 309n28

Personal life ancestry and birth, 44 childhood illness and recovery, 45 marriage to Bob Fosse, 78, 95, 154, 302n42 marriage to James Henaghan, 45 on Joan McCracken, 95 separation from Fosse, 154, 156, 192, 302n42

Professional life acting training, 62, 64 and Cabaret (film), 141, 146, 151, 152, 153, 154, 156 and Can-Can, 24, 47–48, 87, 190, 195 and Chicago, 112, 190, 192, 195–198, 200–206, 208–209, 301n18 and Damn Yankees (musical), 3, 50–55, 192 and Damn Yankees (film), 58–60, 128 and New Girl in Town, 61–67 and Redhead, 3, 69–78, 195 and Sweet Charity (musical), 110–112, 114–118, 121–123, 125–127, 192, 195 and Sweet Charity (film), 128, 130 and Sweet Charity (1986 revival), 258–259, 271 and television dances choreographed by Fosse, 98, 135–136, 140–141 as assistant to Fosse, 71, 82, 84, 90, 91, 101, 109, 130, 146 dancing with Fosse, 59, 94, 98 early dancing days, 45 influence on Fosse’s choreography, 51, 52–53 on Jack Cole’s dance style, 20

post-dancing career, 259 standing among dancers, 70–71 working relationship with Fosse, 3, 50–51, 53, 54, 59, 63, 71, 192, 208, 218, 271, 316n12 working with Jack Cole, 45–47 Verdon, Joseph, 44, 78 Verdon and Del Valle, 45 Verdon-Fosse Legacy LLC, 275 Vereen, Ben, 155, 167–170, 172, 179, 181–182, 213, 234, 243, 255, 260, 273, 302n40 Verfremdungseffekt (distancing effect), 193–194 Vest, Buddy, 135–136 Vetter, Rima, 311n11 Via Galactica, 179 Vietnam War, 4, 139, 173, 187 Virgin Spring, The, 251 Vivaldi, Antonio, 239 Voight, Jon, 233

“Walk on By,” 164 Walker, Chet, 182, 258, 272–274, 317n12 Walker, Nancy, 55, 80 Walking Happy, 144, 164 Wallace, George, 62 Wallach, Eli, 129 Wallis, Hal, 128 Walston, Ray, 49–50, 53 Walton, Tony, 170–171, 177, 193, 195, 196–197, 234, 240, 241, 245, 251 “War is a Science,” 171–172 Ward, Charles, 213, 220–222 Ward, Evelyn, 67 Warfield, William, 19 Warner Brothers, 57–58 Warren, Harry, 215 Warren, Lesley Ann, 247 Warwick, Dionne, 164 “Was Dog a Doughnut,” 223–224 Watergate, 139, 143, 193 Watkins, Maurine, 191–193, 194, 196 Watts, Jr., Richard, 42, 77 Wayburn, Ned, 6–7, 8, 12 “We Both Reached for the Gun,” 192 Weaver, Frederic, 14–15, 100 Webb, Jimmy, 157 Weeks, Alan, 260 Weidman, Charles, 20, 26 Weill, Kurt, 9, 142, 143, 193 Weinstock, Jack, 88 “Welcome to the Big City,” 227 Wellman, William, 192 Werner, Fred, 102 West Side Story (musical), 10–12, 78, 102, 141, 143, 209, 223, 258 West Side Story (film), 129, 130, 134, 136, 137, 257 “Whatever Lola Wants,” 38, 50–51, 73, 99, 122, 273 “What’s New, Pussycat,” 164 What’s Up, Doc?, 248 Wheeler, Hugh, 113, 145, 150 “When Johnny Comes Marching Home,” 225 “When You’re Good to Mama,” 151, 203 “Where Am I Going?,” 127, 130 Where’s Charley? (musical), 10, 36, 78, 88 Where’s Charley? (film), 47, 78 “Whip Dance,” 99 White Sheik, The, 112 Whitehead, Allen B., 108 Whitehead, Robert, 84–86 “Who Are You Now?,” 106 Whoop-Up, 82 Whoopee!, 7, 277n8 “Who’s Got the Pain?,” 51–52, 54, 55, 56, 58–59, 62, 94, 192, 219 “Who’s Sorry Now?,” 16, 234, 240–241 Wild Child, The, 132 Wildcat, 124 Wilder, Billy, 88, 129, 144, 164 Wilder, Marc, 46 William Morris Agency, 194 Williams, Allison, 121 Williams, Bert, 193, 204

Williams, Tennessee, 49 , 130 Williams, Vanessa, 260 Williams, Wendy, 208 Willie Covan and Family, 45 “Willkommen,” 147 – 148 Wilson, Lester, 256 Wilson, Nancy, 129 Wiman, Dwight Deere, 22 – 23 Wind in the Willows , 269 Winer, Linda, 228 Winter Garden Th eater, 259 Wise, Robert, 130 “With You,” 173 , 238 Wiz, Th e , 206 Th e Wizard of Oz (musical), 7 Th e Wizard of Oz (fi lm), 277n10 Woetzel, Damien, 222 Wolf of Wall Street, Th e , 252 Wolsky, Albert, 188 , 245 , 251 Wonderful Town , 36 , 42 – 43 “Wonderful World of Entertainment, Th e,” 79 – 80 Woodlawn, Holly, 196 Works, Th e , 69–70 Worley, Jo Anne, 158 Worth, Marvin, 187 Writers Guild of America, 145 Wyler, Gretchen, 53

“Yankee Doodle Dandy,” 224 , 226 “Yankee Doodle Disco,” 226 Yeager, Barbara, 260 , 264 Year the Yankees Lost the Pennant, Th e (Douglass Wallop), 49 “Yo Ho Ho, Th e,” 89 “You Can’t Do Wrong Doin’ Right,” 31 “You Should See Yourself,” 127 “You’d Better Change Your Ways.” See “Th ere’ll Be Some Changes Made” York, Michael, 147 Youmans, Vincent, 7 , 166 Your Hit Parade , 25 , 172 Your Show of Shows , 22 , 96

Zanuck, Darryl F., 46 Ziegfeld, Florenz, 7 , 192 Ziegfeld Follies , 22 , 106 , 277n10 Ziegfeld Th eater, 155 Zipprodt, Patricia, 170 , 172 , 197 – 198 , 258 , 260 Zsigmond, Vilmos, 156