Ask any dancer about Bob Fosse. You’ll watch their eyes light up as they go on and on about the leg
end he once was. As a dancer, choreographer, director, actor, screenwriter, and winner of eight Tony Awards, he was basically the Michael Jackson of the broadway and dance industries.
Like most dancers, I started dancing at a very young age and trained at a local dance studio. My dance teachers adored Fosse. If there’s one thing I remember hearing in my studio, it would be how much of a creative genius Fosse was. He died in 1987 but many still credit him as the best dancer and choreographer ever. He was widely known for his unique jazz style. The “Fosse style” is dark, in
tense, and provocative. His style incorporates turned-in knees, shoulder rolls, and of course jazz hands. Just these three movements alone contradict the classical ballet style, which is the foundation for all dance styles. But that’s the kind of guy Fosse was. He was one to break rules, deviate from the norm, and embrace his individuality.
One of my favorite movie musicals is Chicago. Why? Yes, because there’s a lot of dancing in it; however, the storyline and production are still incredible. Originally, Chicago was just a musical written by (no surprise here) Bob Fosse. The original broadway production of Chicago: A Musical Vaudeville ran from 1975 to 1977, but there has been many revivals after it closed. Of course, Fosse was the choreographer. Unfortunately, I have never seen a broadway production or revival of Chicago, but apparently Fosse’s unique style was very evident in the performances.
Then in 2002, Chicago: A Musical Vaudeville was transformed into a movie musical. Directed and choreographed by Rob Marshall, the movie won six Academy Awards in 2003, including Best Picture. Set in the 1920s, Chicago is about two vaudeville murderesses: Roxie Hart (Catherine Zeta-Jones) and Velma Kelly (Renée Zellweger), locked up in Cook County Jail. With help from the prison matron and her lawyer, Velma plans to return to vaudeville and pursue her career as a performer. However, jealousy arises when prison newbie, Roxie, has the same ambition. Through singing and dancing, Chicago tells the notorious story of these two rival murderesses, who later become good friends.
In Chicago, there is a very iconic performance called Cell Block Tango. Disregarding the title, the style is predominantly jazz with some tango and ballet influences. This is definitely one of my favorite dance performances because it really showcases strength, passion, and femininity.
From the soundtrack to the dancing, Chicago is a very entertaining film. Although it’s clearly not for children, I highly recommend it to everyone else, especially college students. Not only will students be attracted to the provocativeness, they can relate to the murderess’ stories. Students may feel like they’re trapped in a prison sometimes, having no plans for their future. We’re constantly stressed with school work and worrying about our futures. We’re in the process of discovering our ambitions. We can only dream to be as fierce and fabulous as Roxy and Velma (I know I do!).
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