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His partner in crime in “Charlie’s Angels,” Kelly Lynch, said Mr. at 60 from a heart attack just before the opening night of a “Sweet Charity” revival. He hurt Verdon with his other women, but she kept working with him and she was with him when he died in D.C. That’s when the dancers fell in love and he left his second wife, Joan McCracken, also a musical comedy star on Broadway. Fosse helped create Verdon as a leading lady when he choreographed her “Whatever Lola Wants, Lola Gets” dance as the devil’s temptress seducing an older baseball player in Washington to sell his soul to regain his youth. Kail noted the irony that the great success of Verdon and Fosse in “Damn Yankees” provided the template for the couple’s Faustian bargain. He would go along when she did singing telegrams. Rockwell’s mother moved back to New York to pursue her performing career after her divorce, leaving 5-year-old Sam to be raised by his father, except in summer, when Sam joined her in New York. Just as Verdon left her baby son with her parents to return to dancing, Mr. There’s a symbiotic thing with them that transcends, not just a romantic relationship, it’s almost like they’re joined at the hip.”

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He said that his acting coach referenced “Dead Ringers,” the movie in which Jeremy Irons plays creepy twins, as a good model for Fosse and Verdon. Shoulders more and more slumped forward, elbows pinched in, stillness on the outside but a dark engine rotating fast inside.” “I learned about dancing from his demons because in his material, he was therapeutically raking himself over the coals,’’ said Andy Blankenbuehler, the choreographer of “Fosse/Verdon” and “Hamilton.” “As he got deeper into his own style, drawn to stories about broken people, heartbreak and abusive situations, his style was like a crushed Coke can. Plagued by death, failure, self-contempt and his memories of being sexually abused in his early teens by hard-bitten burlesque dancers, he depicted an increasingly nihilistic view of humanity. That’s why they’ve elevated Verdon to the title and focused on her collaboration.įosse manipulated but also wore his heart on his sleeve, telling women exactly who he was. The FX show’s creators know that the thrice-married, always unfaithful Fosse, who was constantly seducing his own dancers, is a dicey character to build a show around in the #MeToo era. “He added a dark sparkle, which is a hard thing to do in dance, to add negative feelings to something exuberant and vital,” Mr.

“Tap is hard,” he said.Īnd he had to shave his head to accommodate the hairpiece of Fosse’s stringy comb-over.įosse changed movies and Broadway forever, inventing an original American dance idiom: syncopated, tiny, isolated movements with shades of burlesque and showbiz with a capital S. He went for intensive lessons in fundamental tap dancing and Fosse 101. Doing ballet, jazz, tap since you were 6 is different than what I do.” And even though I have rhythm and I can move, picking up choreography like that is a different thing. Rockwell recalled, “I was cocky and I said, ‘I can dance,’ so I went into this room and I tried to keep up, and it became apparent pretty fast that I am not a real dancer. It was a way to meet girls, and I just kind of got into it, got into James Brown.” We went to high school dances and it was when ‘Footloose’ and Michael Jackson’s ‘Thriller’ album was out. He wanted to get away from “a white supremacist group,” and started hanging out with “a crowd that wanted to dance. He picked up some moves in middle school in San Francisco.

Rockwell was exposed to show business early. “She’s got that kind of Ann Reinking frame, and she can actually krump a little.”

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Rockwell said about his tall, lithe girlfriend, who played Will Ferrell’s wife in “Talladega Nights” and has a coming series on Netflix as a superhero mom. Rockwell danced his “Saturday Night Live” monologue with top hat and cane and did a split in a fitted suit on “The Tonight Show.” And at the Vanity Fair Oscar party in February, he and his girlfriend, the actress Leslie Bibb, kicked off a dance circle that led to Glenn Close tearing up the floor in a glittering jumpsuit. He improvised slinky malefactor slides for his villains in “Charlie’s Angels” and “Iron Man 2.” The way he grooved through a diner in a Flight Facilities music video was reminiscent of Christopher Walken’s cool dance number for Fatboy Slim’s “ Weapon of Choice.”

Not even Sam Rockwell, who can shimmy so well that many of his movie characters cannot make it to the end of a film without busting a move. No one playing Bob Fosse could feel like a good dancer.