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Thank you Sam Wasson for reminding me why I love musical theatre so much! Wasson's book Fosse is a comprehensive insight into dancer, choreographer, writer and director Bob Fosse's life and contributions to the stage and screen.
Buy a cheap copy of Fosse book by Sam Wasson. More than a quarter-century after his death, Bob Fosse’s fingerprints on popular culture remain indelible. The last challenge 1967 download. The only person ever to win Oscar, Emmy, and Tony awards. Free shipping over $10.
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Publication Details
Publisher:
Wiley
Imprint:
Jossey-Bass
Publication Date:
2011
Format
Kindle Book
OverDrive Read
Adobe PDF eBook 2.6 MB
Adobe EPUB eBook 2.1 MB
Kevin Eikenberry (Author)
Kevin Eikenberry is the Chief Potential Officer of The Kevin Eikenberry Group, a learning consulting company that provides a wide range of services including training delivery and design, facilitation, performance coaching, organizational consulti..
After Bob Fosse won an Oscar (for directing “Cabaret”), two Tonys (for choreographing and directing “Pippin”) and an Emmy (for directing “Liza With a Z”) in 1973, a rare triple coup, he reacted the way any world-class show business depressive would: He decided he had nowhere to go but down.
According to “Fosse,” Sam Wasson’s intensively researched new biography, two months after Oscar night, he checked into the Payne Whitney psychiatric clinic. “You spend your whole life trying to get known,” he said of his accolades, “and then you spend the rest of it hiding in the toilet.”
Mr. Wasson is a film fan (and a visiting professor at Wesleyan University) who is drawn to strong and perhaps self-destructive personalities. “A part of me always wished I could inject boiling blood into Astaire’s veins,” he writes about the placid Fred Astaire. But his superb “Fifth Avenue, 5 A.M.,” an anecdotal account of the making of “Breakfast at Tiffany’s,” was a slender book full of brio and not burdened with excess detail. The opportunity to tell Fosse’s story offered a very different challenge.
That story has been told before, on the page in Martin Gottfried’s 1990 “All His Jazz: The Life and Death of Bob Fosse” and on screen in Fosse’s scorchingly autobiographical “All that Jazz.” But Mr. Wasson is a smart and savvy reporter, and his book abounds with colorful firsthand tales.
A woman named Sherri Kandell tells of being stopped by Fosse on Fifth Avenue because of the spring in her step: “It looks like you’re 10 feet taller than everyone around you,” he said. Fosse was a great pickup artist in more ways than one: Ms. Kandell was ecstatic about being alone in New York that day, and he had read her body language perfectly.
A lithe book full of keys to Fosse’s character would have been right up Mr. Wasson’s alley. But he found himself with the material for a bigger, more sprawling biography, and that’s what “Fosse” became. It introduces little Bobby Fosse as a dancing kid with exceptional presence and dedication. (“He’d furrow his little brow and concentrate,” a fellow child dancer says. “I think he wanted to be better than everybody.”)
It follows him onto the burlesque circuit, where, as a teenager, he developed the fusion of elegance, filth and lady killing that would dominate his adult personality. As he once said of his mother: “She thought you could send a boy of that age into a roomful of naked women, and it wouldn’t bother him — because he was such a good boy. Obviously, she was wrong.”
The earlier parts of “Fosse” explain how the budding choreographer’s style was formed, with Mr. Wasson astute enough to see bits of Jimmy Durante and Charlie Chaplin in the Fosse mix. This book watches the Fosse arrogance take shape, too. When he sees Astaire casually kick a nail “with the force of a rifle shot,” it leaves Fosse angry, depressed and determined to match Astaire’s prowess. Canopus advc 110 drivers mac. “Dozens of kicks later, he was still Bob Fosse,” Mr. Wasson writes.
“Fosse” picks up steam, just as its subject did, when he hits the big time. (His “Steam Heat” dance was an indelible part of “The Pajama Game.”) It heats up further when he meets Gwen Verdon, who became his third wife and most stellar dancing partner. Mr. Wasson chose his subject too late to talk to either Fosse (who died in 1987) or Verdon (who died in 2000), but he elicits revealing material from Ann Reinking, another sensational dancer-lover in Mr. Fosse’s life, and even from a friend who describes Verdon’s way of dancing and cooking. When she made clam sauce for spaghetti, she did it “interrupting stirs with pliés.” Verdon kept spices high in a cupboard, doing arabesques as she reached for them.
Domestic bliss was lost on Fosse, as anyone who knows his work can clearly see. Mr. Wasson, with a graceful turn of phrase, calls the screen version of “Cabaret” “a film about the bejeweling of horror,” one that is “coruscated with Fosse’s private sequins, the flash he feared made him Fosse.” This book sees him as determinedly unhappy, obsessed with death and doing his utmost to bring it on.
“I drink too much, I smoke too much, I take pills too much, I work too much, I girl around too much, I everything too much,” he once told a friend, winking. Mr. Wasson adds: “That wink, she thought, sealed his fate.”
“Fosse” sprawls with details of each production. But it is less successful at conveying what the finished works were like. Its account of the making of “All That Jazz” (1979) offers little sense of that film’s searing self-awareness. A tighter book would have been welcome, though it might not have had room for the feuding and jealously that Mr. Wasson captures so sharply. Dustin Hoffman provides a revealing account of his troubles with Fosse in making “Lenny.” (“Limited gains, Bob,” Mr. Hoffman warned, after Fosse’s direction took on a chastising tone.)
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This book has many barbed edges, including references to Fosse’s resentment of Michael Bennett (whose obituary in The New York Times called him “the most influential theater director and choreographer of his generation” — ouch!). Fosse’s “Chicago” and Bennett’s “Chorus Line” arrived almost simultaneously.
Stephen Sondheim speaks critically to Mr. Wasson about what, he thinks, was Fosse’s misunderstanding of Sondheim’s “Follies.” “He saw the last 20 minutes of ‘Follies,’ Mr. Sondheim says, “and thought ‘Oh boy’ .. and made a career out of it. Simple as that.” It is left to Mr. https://renewlessons397.weebly.com/blog/grand-theft-auto-iv-episodes-liberty-city-money-cheats-ps3. Wasson to mediate. “Sondheim’s vaudeville is abstract, a metaphoric description of a nervous breakdown,” he writes. “Fosse’s is representational, a description of corrupt America in show-business terms.”
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Whoever Fosse was and whatever his work meant, Mr. Wasson’s book is required reading for anyone eager to understand his brand of — to use a term that appears here constantly, and can’t be outdone — razzle-dazzle. And to see through his darkness. A friend once saw him carrying a copy of Elisabeth Kübler-Ross’s “On Death and Dying” with a cigarette planted on his lip.
“You’re carrying that book and smoking?” the friend asked. “Un-huh,” Fosse replied.