Скачать или смотреть Bob Fosse. Sweet Charity, 1969, Rich Man's Frug.

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What do you think of the dance number?

Today marks the Anniversary/Birthday one of the greatest Choreographers, Bob Fosse. B: June 23rd, 1927. – D: September 23rd, 1987.

Suzanne Charny, Ben Vereen and Dancers in Sweet Charity, 1969, performing "Rich Man's Frug, The Aloof."

Choreographer: Bob Fosse. Gwen Verdon (Uncredited).

Dance Assistants: Ed Gasper. Paul Glover. Sonja Haney. John Sharpe.

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Mr. Fosse extracted the inner of a dancers’ soul to build his dance numbers into something that is still remembered to this day, for his love, respect and passion to the Art of what we call Fosse.

As in "Rich Man's Frug" Mr. Fosse’s choreography is unique, specific and it’s not just dancing, he has the dancers’ act the part of their characters in what he wants to convey within the performance.

Whilst this article is about Mr. Fosse, kudos also has to be given to Gwen Verdon for her commitment and contribution to the Fosse Legacy, as you will eloquently read.

How many Artists today, 35 years after their passing are not only remembered, but are spoken about with passion?

That you can still learn the stage craft that many before had been taught directly from, and continue to pass on to future generations of dancers, and or appeared in a Broadway production or a Film that was choreographed by Mr. Bob Fosse?

I spoke with Dancer, Choreographer, and Actress Mimi Quillin, who has performed on Broadway, Off Broadway, in Film, on TV nationally and internationally. Ms Quillin is a Verdon Fosse Dance Reconstructeur. Ms Quillin (written and performed) in her own one woman show, “Call Fosse at the Minskoff.”

As a dancer, talking with Ms Quillin, she is someone who you want to be around. Soaking up that knowledge, energy, passion and respect for this Art form called Fosse. And even if you don’t dance, but appreciate Art/Entertainment, Ms Quillin’s passion shines through with her knowledge.

Andrew: How did you become Mr. Fosse and Ms Verdon's Assistant, Dance Captain and appeared on stage in the 1985 Broadway revival of Sweet Charity?

Mimi: While I was dancing with Lee Theodore's American Dance Machine we did a benefit performance at the Schubert theatre in New Haven. Gwen Verdon and Chita Rivera were guest co hosting the weekend of shows and I met Gwen there. After seeing me dance she recommended me for an audition with Fosse for Sweet Charity's revival. I had never met her before. Apparently she always found dancers for Fosse and I was lucky that she saw me and liked me.

Andrew: Artistically and personally, what was your favorite part of Sweet Charity?

Mimi: Artistically and personally it's hard to choose but I would guess it's Big Spender. It is so magnificently simple and yet intricate. If the actors in it aren't working as actors then the number doesn't work beyond being amusing. But if you understand that each person in it is an individual with their own subtext/back story it's very powerful. And every movement in it has a subtext to act. This is actually true of everything he choreographed in that show.

Andrew: Also being an Assistant to Mr. Fosse and Ms Verdon, you were performing on stage. What was it like going from being apart of the creative team to performing on stage in Sweet Charity?

Mimi: My time with Bob and Gwen in preproduction was very exciting for me. I had never dance captained or assisted before so I had to learn fast. They were patient and Gwen was an especially good teacher. What struck me was how open they were about their work. It was as if they had known me a long time instead of just recently meeting me. We watched the film Bob made of Charity with Shirley MacLaine in order to figure out the choreography. There were no notes from 1966 so we were dependent on Gwen's memory and the film. Bob remembered things too but it was mostly Gwen who would sometimes come in in the morning with whole dances worked out. She must have put in a lot of time at home. She was very strong on all the choreography and not just her dances.

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