Wayne Cilento has directed and staged a first ever revival of Bob Fosse’s Dancin’. He was Tony nominated for his performance in the 1978 production. This version is a visual feast with faithfully recreated choreography and new material. Take your seat, open your eyes and drink it all in. Dancin’ is athletic, seductive and bursts with color. Mr. Cilento definitely accomplishes his mission of celebrating the legend and deservedly adding his name to the title.
Mr. Fosse mounted this musical to showcase dance on Broadway. He noted at the time that A Chorus Line, a classic about dancers, contained very little dancing. They frequently stand and sing about the craft. His all-dancing spectacle was a big hit. Certain famous numbers were recreated for the career retrospective Fosse in 1999. That show was mounted by one of his muses, Ann Reinking (also a Tony nominee from the original Dancin’).
I saw Fosse which was satisfying like a good smorgasbord with lots of tasty bits. This presentation, however, is far more sumptuous. An ecstatic celebration of dance. An opportunity to witness extremely talented individuals excelling in their art. I was mesmerized throughout.
Changes have been made such as the addition of scenes and numbers from Fosse’s infamous 1986 flop Big Deal. Despite being a financial failure he won a Tony for his choreography. This turned out to be his last work as he died the following year. For theater buffs here is a golden opportunity to see a tiny piece of history. And Mr. Cilento was in that show so authenticity is an added bonus.
There are some vague attempts to have the dancers tell us snippets of Fosse thought but thankfully they are kept to a minimum. We are here to worship the dance and that we will do. The ensemble in this musical are vividly alive no matter whether they are front and center or in the back row. Mr. Cilento has to be given credit for this abundance of professionalism.
Difficulties arise in picking out favorites so I will mostly avoid the task. “Sing, Sing, Sing” is as fantastic as you would hope. Kolton Krouse’s trumpet solo is awesome. “Percussion” thrilled, especially the boxing in “Part II”. Little nods to other Fosse shows were short-lived and fun such as the medieval costumed soldiers in “The Bookstore”.
The costume design by Reid Bartelme and Harriet Jung is one of a slew of creative high points. The clothing manages to be functional, eye popping, kaleidoscopic, sexy and even muted a dull gray when called for. David Grill’s exceptional lighting design enhances the action in interestingly varying ways. Signage including Peep Show and Pussycat evoke a seedier New York which is also part of Broadway history. The dancing is unquestionably the star but the total production is dazzling.
Famous for being a Razzle Dazzle man, Fosse loved dancing and dancers. The original Dancin’ was the first Broadway musical where every ensemble member had principal contracts and the related financial rewards. Let’s hope that is the case once again for this uber talented and diversity inclusive group. Watching their exquisite movements and Mr. Cilento’s glorious staging is simply a joy. Fans of dance should pounce.