#fosse verdon*

[zionistsinfilm]

When you buy or stream Hamilton, Fosse/Verdon, Moana (2026), Grease Live!, World's Best, We Are Freestyle Love Supreme, you're giving money to zionists. Thomas Kail thanked Butcher Biden.

[dontaskmeluv]

I finished my second watch of Fosse/Verdon last night and added a little review to Letterboxd (along with a fair few other Rockwell reviews over the past few months ranging from highbrow praise for his acting technique to pure thirst).

[raphlecia]

sweet charity (1969) dir. bob fosse

[operaqueen]

Bob Fosse & Gwen Verdon

[mischief-and-tea-by-the-sea]

Same energy

@kleenexwoman, it's our boys with the same energy!

[raisinchallah]

never gonna stop thinking about the fact bob fosse contemplated doing the vampire lestat on broadway with david bowie and mick jagger yeah if i was any of the people involved in making lestat the musical id like go into hiding after hearing that live forever in fear of the theoretical concept of bob fosse lestat musical if i was rolin jones id be quaking in my boots thinking about how the greatest theater straight of them all contemplated this before him... anyways bob fosse voice the vampire lays bare the essence of show biz and how it eats you up and kills you from the inside leeching off your soul and taking everything out of the actors and dancers it courts

[deadtheatremag]

The Richard Rodgers Theatre, nestled in the heart of Broadway’s pulsing 46th Street, seems to have been born under a star that shines brighter than a chandelier in a Phantom’s lair. Over the years, it’s played host to some of the most iconic musicals to ever grace the Great White Way, and each one left its glittery footprint on the history of showbiz.

It all began with "Guys and Dolls" in 1951—a musical so slick and charming, it practically rolled dice on stage and won big at the Tonys. Fast forward to 1956, and "Damn Yankees" strutted in, proving that even baseball fans could be seduced by Broadway’s siren song. Then came "Redhead" in 1959, a little quirky, a little mysterious, and totally deserving of its Best Musical trophy.

In these years, Gwen Verdon owned the Richard Rodgers. Verdon didn’t just star in those shows- she won a Tony Award for her performance in each of them. Her performances were so electrifying, it felt as though the theater itself had been choreographed to applaud her.

The 1960s brought a little corporate flair with "How to Succeed in Business Without Really Trying", which made the business of winning Tonys look effortless in 1962. And what about "1776" in 1969? Talk about making history—literally. It sang about America’s founding fathers and charmed its way to the top.

The 1970s weren’t left out either. "Raisin" (1974) stepped into the spotlight, proving that Broadway could adapt Lorraine Hansberry’s masterpiece into a soul-stirring musical. By the 1980s, the Richard Rodgers was strutting with "Nine"(1982)—a decadent, Fellini-inspired fever dream that turned audiences into Tony voters overnight.

And then, as if destiny wasn’t done yet, the theater hit the jackpot not once but twice with Lin-Manuel Miranda’s brilliance. "In the Heights" (2008) danced its way into everyone’s hearts, and "Hamilton" (2016) didn’t just rewrite history; it rewrote the rulebook for what a Broadway musical could be.

The Richard Rodgers has also played host to some of the most gripping plays to ever grace the stage. And in those moments, it wasn’t just the actors who delivered—this theater itself seemed to hold its breath, ready to claim its place in history.

Take "Fences" in 1987. August Wilson’s heart-wrenching exploration of family, race, and the weight of dreams felt so raw, so electric, that it turned a stage into sacred ground. The Tony voters took notice, crowning it Best Play—and honestly, how could they not? It was as if every word was etched into the walls of the Richard Rodgers, a reminder that sometimes, truth isn’t just told—it’s performed.

Then came "Lost in Yonkers" in 1991. Neil Simon handed us a bittersweet slice of life, and suddenly, the theater transformed into a home filled with family secrets, love, and pain. It won Best Play too, cementing its place in the Richard Rodgers’ illustrious history. In those moments, you could almost hear the applause reverberate as if the building itself was clapping along.

It made me wonder: can a theater be more than just a venue? At the Richard Rodgers, it seems the answer is yes. It’s not just a place where stories are told—it’s a stage for greatness, a canvas for humanity, and sometimes, if you’re lucky, a front-row seat to magic.

[davidhudson]

Gwen Verdon, January 13, 1925 – October 18, 2000.

With Bob Fosse.

[thevisualvamp]

Before Beyoncé

[owlpuddle]

Give Michelle Williams another Emmy for Fosse/Verdon

[unwelcome-ephestion]

Here’s a forgotten woman of musical theatre - Joan McCracken. She’s now mainly remembered as the first wife of Bob Fosse, but her contributions to musical theatre are much greater than that.

Image ID: publicity shot of Joan McCracken

McCracken shot to fame in Oklahoma!, credited in the programme as The Girl Who Falls Down because of her pratfall during ‘Many A New Day’. This might sound silly, but it would take until West Side Story for all individual chorus members to be assigned characters. The individual standing out from the chorus was a great surprise and added to the humour of the moment, and was a key innovation of choreographer Agnes De Mille. Joan McCracken went on to have a good Broadway career and appear in several films, although her work was hampered by diabetes, which she hid from her colleagues despite fainting spells, and which ultimately killed her aged only 43.

McCracken’s impact in Oklahoma! should not be underestimated - putting character before aesthetic was the show’s revolution, and her role was a huge part of that. She is also said to have encouraged Fosse to be a choreographer - whether that is true or not, it’s interesting that, like Gwen Verdon (Fosse’s second wife and Broadway legend), she was trained by George Balanchine, whose influence is evident in Fosse’s work. She is also said to be the inspiration for Holly Golightly, at least in part, in Breakfast at Tiffany’s, whose author, Truman Capote, had an affair with her first husband, Jack Dunphy. However, we should recognise her influence as an acting dancer and comedienne just as much as her influence on male creatives!

[ethanslaterupdates]

Ethan Slater as Joel Grey in Fosse/Verdon (2019)

(See more pics of Ethan 📸)

[citizenscreen]

Gwen Verdon and Bob Fosse.

[operaqueen]

Gwen Verdon - Damn Yankees

[gillianthecat]

Gwen Verdon! 🤩

She's such an amazing dancer. There's not all that much footage of her dancing available online (or at least there wasn't last time I looked) but she was in the movie Damm Yankees, so there is this amazing number from it.

The detail and precision she is capable of! That moment near the beginning where she just rotates her ankle... that "simple" movement completely captures my attention.

I think the unstated goal of my Musical Theater Dance class is learn to move like her. Not that it's possible to achieve that, she was one of a kind, and I have nowhere near that level of control over my body. But it's worth trying to get even a little bit closer to that.

One thing that fascinates me about this dance is how not seductive Lola actually is. She seems so entirely focused on herself and not the baseball player (Joe?). I should find the whole movie to figure out what's going on. I'm pretty sure I saw a live production as a child (possibly a dinner theater version? that's my vague recollection) but I haven't watched it since then, and now I want to see more of Gwen Verdon in stuff.

[lesbiancolumbo]

just bc matty matheson is exec producing the bear doesn't mean you guys had to let him act in it as well 😭