By Sam Wasson

“Wasson is a brilliant and savvy reporter, and his e-book abounds with colourful firsthand tales.” — Janet Maslin, New York Times

“Fascinating . . . Wasson has taken entire keep watch over of his subject.” — Wall highway Journal

the single individual ever to win Oscar, Emmy, and Tony awards within the similar yr, Bob Fosse revolutionized approximately each aspect of yank leisure. His signature sort could effect generations of acting artists. but even with Fosse’s innumerable—including Cabaret, Pippin, All That Jazz, and Chicago, one of many longest-running Broadway musicals ever—his offstage lifestyles used to be shadowed via deep wounds and insatiable appetites.

To craft this richly targeted account, best-selling writer Sam Wasson has drawn on a wealth of unpublished fabric and hundreds of thousands of resources: buddies, enemies, fanatics, and collaborators, a lot of them talking publicly approximately Fosse for the 1st time. With propulsive strength and classy prose, Fosse is the definitive biography of 1 of Broadway and Hollywood’s most intricate and dynamic icons.

“Spellbinding.” —Entertainment Weekly

“Impeccably researched.” —Vanity Fair

An NPR most sensible e-book of the Year

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Little by way of little,” Harvey Evans stated, “Fosse received the ballet to the place it was once initially, with out telling anyone. We’d move in as soon as per week and we’d rehearse a bit extra. ” On June 23, 1957, Fosse’s 30th birthday, the “Red mild �Ballet” used to be restored, minus the grand staircase and plus one orchestral swap. The sluggish, sensual drum of the double bass was once thrown out for anything lighter and speedier, and the quantity introduced the viewers to its toes. The scuffle over the “Red mild Ballet” confirmed how Fosse’s variety and sensibility grew in the dead of night, and it hastened his thirst to manage, to be the writer of his personal paintings and safeguard his inventive urges. notwithstanding the musical drama knew the way to be humorous (just examine Joan McCracken), the musical comedy had no notion how one can be grown-up. It was once the fifties; a binary time. guy was once guy; lady was once girl; humorous was once gentle, no longer darkish. In 1957, no much less a personage than George S. Kaufman brazenly counseled their segregation. “There have been lengthy years,” he wrote nostalgically, “when the result of the romance trusted which lad received the massive soccer video game, or the foot race, or the auto race, or the boat race, or the aircraft race. certainly, the man who received the race was once given everlasting ownership of the ingénue. ” Musical comedy used to be approximately easy jubilation—singing within the rain, now not dancing within the dark—which posed an issue for a express that desired to get critical and nonetheless stay awake; for that to paintings, anyone needed to jubilantly pull the rug out from less than jubilation. that somebody will be Fosse, yet no longer but. whether Abbott had allowed it to flourish, Fosse’s New woman on the town could most likely have contained a fit volume of out of date enjoyable besides. for each “Steam warmth” or “Whatever Lola Wants,” Fosse appeared to degree rousing crew numbers, just like the Pajama Game’s “Once-a-Year Day,” rattling Yankees’ “Shoeless Joe from Hannibal, Mo. ,” and New Girl’s “Roll Yer Socks Up. ” “Bob’s choreography within the Abbott years used to be gigantic and lusty,” recalled Tony Stevens, “not just like the micromanaging aspect paintings that will fairly come to outline his kind. He was once consistently very particular, yet at the start it used to be extra acrobatic, like Gene Kelly with flashes of Fosse. ” As past due as 1962, Fosse’s Abbott part nonetheless existed: “I give some thought to dancing as sheer joy,” he might say, “as excitement, as working, as leaping, as athletic, like a trapeze artist, you recognize? ” In September 1957, 4 months after New lady opened on the Forty-Sixth road Theater, the sheer pleasure of dance accomplished a brand new and depressingly (for Fosse) excessive benchmark. back, the genius was once Jerry Robbins. while different musicals, even the nice ones, had needed to decelerate and turn gears to move from a music to a e-book scene, West aspect tale spun each disparate factor into one cohesive burst of dance-song-story. Worse (for Fosse), it was once culturally attuned to its here-and-now gang-life atmosphere (which gave Robbins issues for sociology too). Even worse than that, West part tale used to be daring, finishing act one with useless our bodies and act with a 3rd.

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