A Quote by Dick York

I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
The heads of the studios, like Louis B. Mayer, didn't want to create any more musical stars. So Bobby [Fosse] left and went to New York City to be a choreographer, and created brilliant work.
Bob Fosse and Gwen Verdon intimidated us all because she walked in and was going to be the dance captain. She was a great star, but she loved that kind of work as his assistant.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
Sergio Trujillos choreography adds coals to the inferno, with movement that plain just doesnt stop. We know from Jersey Boys that he can capture this style, but in Memphis, he kicks it up towards art, playing with the authentic touches to add some hits of Fosse, or riffs from modern dance that take us just that extra step we need.
[Bob Fosse] was a temperamental fellow - it was his way or the highway.
I never taught people where to step on '2', because when I learned how to dance there was no '2'. We just danced to the music.
For 'Chicago,' the dancers need to demonstrate an affinity for the Fosse style. Sometimes dancers come in with brilliant technique, but if the Fosse style isn't easy for them, or it's awkward for them, they won't be right for this show.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
To go back to visit the early days with Bob Fosse and Gwen Verdon, when she was the dance captain of 'How to Succeed,' and finding them again 25 years later and working with them on 'Charity.' That was really great fun.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.
No question that 'Birdman' is a breathtaking technical achievement, not a stunt. Shot in 30 days after a long rehearsal period, with the actors' and the camera's movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.
We already do a couple numbers with chairs - chairs being a classic, Bob Fosse-ish, showbizzy prop, but the punk element is that it's just me and Stephanie and this funky band from Austin.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
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