Fosse/Verdon

    Bob Fosse is one of my favorite director/choreographers of all time.  From The Pajama Game (1954/1957) to Cabaret (1972) to Chicago (1975), Fosse's unique visual style in dance and film has always intrigued and inspired me.  When I learned of FX's biographical miniseries, Fosse/Verdon, I was extremely eager to see it.  I was aware that All that Jazz (1979) was Fosse's semi-autobiographical, semi-prophetic personal statement, and I was eager to see how FX's depiction of Fosse (played by Sam Rockwell) matched up with my own understanding of the man and his wife/ex-wife/creative partner, Gwen Verdon (Michelle Williams).

If you're a film buff, Fosse/Verdon 's start is as strong as they come, opening on the set of the film adaptation of ‘Sweet Charity’ (which was released in 1969) as Fosse and Verdon struggle with framing and blocking while simultaneously trying to draw the best possible performance out of the ensemble. For someone who finds behind-the-scenes footage of shooting as enthralling as I do, the shots of Fosse squatting down following the camera on a dolly tensely watching as the dancers perform "Big Spender" is pure joy.

Set photo of Fosse/Verdon's opening sequence, a film buff's dream. Eric Liebowitz/FX, 2019.

    As wonderful as this opening sequence is, the rest of the series doesn't exactly follow suit, focusing less on the artistry of Fosse and Verdon and more on the couple's ever-evolving relationship and their individual psyches.  While the episodes each focus on a particular Fosse production, the show is largely nonlinear, with constant flashbacks and flash forwards building and commenting on one another. The behind-the-scenes elements throughout the series consist mostly of recreations of large production numbers in Fosse's musicals and films.  The rehearsals, shoots, and editing sessions ultimately serve as set dressing for the emotional conflict in the lives of Fosse and Verdon.

Also from the beginning of the first episode, this shot of Verdon (Williams) and Fosse (Rockwell) working on choreography depicts elements that I wish were more present throughout the entire series. FX, 2019.

    I will hand it to Fosse/Verdon, as  I'm impressed that the show works on the assumption that the general network audience is familiar with Fosse's contributions and innovations.  At the same time, I was hoping that the show would provide more of what I was most interested in seeing -- the development of his signature choreography and directing.  Instead, the series’ focus is preoccupied with Hollywood and Broadway's reaction to the finished product.  

    Another element I did appreciate is the show's refusal to deify Fosse -- a practice that's often tempting when the subject is a deceased Hollywood legend.  Fosse, of course, showcased some of his own vices in All That Jazz (1979), and in Fosse/Verdon we see those vices outside of that self-reflective framework.  This presents a struggle for me, as I sit and watch a version of a figure who I held in great esteem, whose work shaped my appreciation of art as a whole, as he forces himself upon one of his company members and, upon rejection, professionally bullies her until she gives in...  

    Fosse/Verdon wasn't what I expected, but it did make me consider a question that is very relevant today: how do we separate the art from the artist?  I will never stop loving All That Jazz (1979) or Cabaret (1972), but I don't know if I can say the same about the man behind those works.  

There's a lot more to say about Fosse/Verdon! Share your thoughts about the show, Fosse, or his works in the comments below!

Copyright © 2019 Bailey Lizotte