Bob Fosse’s Dancin’
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Summary
A little knowledge – never mind a lot – is indeed a dangerous thing when it comes to viewing “Bob Fosse’s Dancin’,” Wayne Cilento’s “reimagining” of the 1978 Broadway hit, now at the Music Box Theatre. Those least familiar with the legendary choreographer’s body of work (as well as the show’s first incarnation) are most likely to be entertained – perhaps vastly – by this Vegas-glitzy revue. Meanwhile, “the more you know,” the more you may be disappointed by what’s on stage.
There can be no question that “Dancin’” was revolutionary 45 years ago (when Cilento appeared in it, earning a Tony Award nomination for his work). It was a completely plotless musical (as the great Manuel Herrera reminds us in the opening minutes), and Fosse brashly tore open the proverbial envelope by creating all-new dances to songs from the world of pop music, classical music, jazz, and standards.
Wisely, Cilento has retained the original’s strongest numbers: an exuberant opening set to Neil Diamond’s “Crunchy Granola Suite”; a melancholy if spiritual take on “Mr. Bojangles,” (sung beautifully by Hererra and splendidly danced by Jacob Guzman and Yeman Brown); the infectious trio, “Big Noise from Winnetka”; and, most notably, the spectacular “Dancin’ Man” and “Sing, Sing, Sing,” which remain two of the greatest dance numbers I’ve ever seen! (All five of these numbers also appear in the superior revue, “Fosse,” which debuted on Broadway in 1999.)
Further, I have nothing but kudos for the ultra-committed troupe of dancers who perform with almost-Olympian strength and determination for over two hours. Rarely have I seen the athleticism and grace of such dancers as Peter John Chursin, Ron Todorowoski, and, especially, Kolton Krouse, who mesmerize with every move! (The women are quite good, as well, and Karli DiNardo, Dylis Croman and Khori Michelle Petinaud prove to excellent vocalists.)
The cast is also to be commended for their willingness to show off every (and in some cases, I do mean every) muscle, sinew and even private part of their well-toned bodies, barely encased in a wide variety of colorful, skintight and revealing costumes by Reid Bartelme and Harriet Jung. Alas, sometimes their physiques are distractions – as are the often-overwhelming video projections by Finn Ross – taking our attention away from what should be the main event: Fosse’s singular brand of movement.
Still, aficionados of Fosse’s work may have already seen more than their fair share of his signature moves, especially as the show literally incorporates such landmark sequences as “The Manson Trio” from “Pippin”; the rolls of “Who Gets the Pain” (from “Damn Yankees”); and, surprisingly; an almost step-by step re-creation of the short sequence Fosse choreographed for Carol Haney and himself in the film version of “Kiss Me Kate” (labeled here in the program simply as “Romantic Fantasy” and wonderfully performed by Jacob Guzman and Mattie Love.)
As he notes in the program, Cilento wants to expose present-day audiences to the work Fosse did in every medium. However, most of Cilento’s attempts to “update” the show do more harm than good. Fosse was right to have cut “Big City Mime” out-of-town. It’s a way-too-sprawling “innocent boy gets seduced by the big, bad city” sequences of dances (which includes choreography directly from “Sweet Charity,” “Liza with a Z” and “Cabaret”) that goes by in a big blur, despite Chursin’s incredible work.
The proto-feminist commentary spoken during “Here You Come Again” (labeled here as “The Female Star Spot,” even though Todorowski performs alongside four women) is just unnecessary; I imagine even Dolly Parton knows the lyrics of Barry Mann and Cynthia Weil’s mega-hit haven’t held up to our 2023 P.C. standards.
And intellectually and emotionally, one understands Cilento’s desire to memorialize Fosse’s last Broadway musical, 1986’s “Big Deal” (which earned Fosse his ninth and final Tony Award, despite running for only about 70 performances). But the brief, somewhat disjointed summation presented here seems like something one would see on awards show to entice people to see it if it were still running. Here, it just falls flat.
So, step into the Music Box if you don’t know Fosse’s work or love it completely. Others may want to shuffle off to another this season’s many new Broadway offerings.
Visit the Site
https://www.dancinbway.com/
Cast
Iona Alfonso, Yeman Brown, Peter John Chursin, Dylis Croman, Jovan Dansberry, Karli Dinardo, Tony d’Alelio, Aydin Eyikan, Jacob Guzman, Manuel Herrera, Gabriel Hyman, Afra Hines, Kolton Krouse, Mattie Love, Krystal Mackie, Yani Marin, Nando Morland, Khori Michelle Petinaud, Ida Saki, Ron Todorowski, and Neka Zang
Open/Close Dates
Opening 3/19/2023
Closing 5/14/2023
Theatre Info
Music Box Theatre
239 West 45th Street
New York, NY 10036
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