Fosse (87 page)

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   “The word
tired
does not exist”: James Horvath, interview with the author, January 14, 2011.

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   “It was his belief in you”: Donna McKechnie, interview with the author, October 14, 2010.

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   “We see the perfection”: Ben Vereen, interview with the author, January 11, 2011.

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   Fosse and Verdon, alone except: Feuer and Gross
, I Got the Show Right Here,
229.

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   “The results were exactly what”: Sam Zolotow, “Novel by Sneider Will Be Musical,”
New York Times,
September 22, 1961.

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   There had been a few attempts: “Theatre League Votes Refusal to Recognize Directors’ Union,”
New York Times,
April 3, 1962.

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   Fosse bounded into Variety Arts: Barrie Chase, interview with the author, April 21, 2011.

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   “Crafty, conniving, sneaky”: Walter Kerr, review of
How to Succeed in Business Without Really Trying,
New York
Herald Tribune
, October 14, 1961.

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   “The most inventive and stylized”: John McClain, review of
How to Succeed in Business Without Really Trying, New York Journal-American,
October 14, 1961.

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   “It belongs to the blue chips”: Howard Taubman, “Musical Comedy Seen at 46th St. Theatre,”
New York Times,
October 16, 1961.

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   “Nobody just walked across”: Tommy Tune, interview with the author, January 6, 2011.

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   dancer Barrie Chase: Barrie Chase, interview with the author, April 21, 2011.

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   “Shaking hands with Bob was like”: Ervin Drake, interview with the author, April 25, 2011.

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   “I went along with everything Fosse suggested”: Ibid.

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   “stayed away”: Ibid.

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   the production absorbed Fosse completely: Barrie Chase, interview with the author, April 21, 2011.

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   “He was very involved”: Ibid.

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Variety
suggested Fosse’s audition sequence: “Seasons of Youth” Review,
Variety,
November 1, 1961.

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   “a total cliché”: Barrie Chase, interview with the author, April 21, 2011.

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   “Hiya, Barrie”: Ibid.

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   Gwen got a call: Lisa Jo Sagolla,
The Girl Who Fell Down
(Lebanon, NH: Northeastern University Press, 2003), 257.

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   “Gwen,” Campbell began: Ibid.

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   “Years from now”: Bernard Drew, “Life as a Long Rehearsal,”
American Film,
November 1979.

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   Soon after he got the news, Fosse sat down: “Cleveland, U.S.A.,” short story, LOC, box 53B.

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   De Mille, Robbins, and Richard Rodgers were among: Leo Lerman,
The Grand Surprise: The Journals of Leo Lerman,
ed. Stephen Pascal
(New York: Knopf, 2007), 246.

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   Joan’s “funeral was dreadful”: Ibid.

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   Fosse watched from the other side: Sagolla,
The Girl Who Fell Down,
258.

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   got a call from Cy Feuer: Bob Fosse, interview with “Haddad,” 1982, LOC, box 49A.

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   “Co-?” Bob asked: Ibid.

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   It was book writer Neil Simon’s idea: Feuer and Gross
, I Got the Show Right Here,
234.

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   Once, after a performance: Paul Turgeon, interview with the author, March 29, 2011.

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   But only if Feuer and Martin: Sam Zolotow, “Directors’ Union Enters Broadway,”
New York Times,
February 21, 1962.

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   now backed by Harold Clurman: “Directors Society Seeks Recognition,”
New York Times,
December 8, 1961.

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   “You know, I never can find”: Leo Lerman, “At the Theater,”
Dance Magazine,
January 1963.

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   every night, Edith: Warren Allen Smith, interview with the author, August 19, 2012.

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   Fernando Vargas, the studio’s co-owner, heard: Ibid.

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   “Fosse loved the front room”: Dan Siretta, interview with the author, February 22, 2012.

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   He and Gwen worked: Sally Hammon, “Scene at a 1st Rehearsal: The ‘Little Me’ Cast Meets,”
New York Post,
September 6, 1962.

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   He had one composition book: Fosse’s
Little Me
composition notebook, LOC, box 44C.

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   “I would pass Variety Arts every night”: Dan Siretta, interview with the author, February 22, 2012.

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   Barrie Chase returned to New York: Barrie Chase, interview with the author, April 21, 2011.

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   “We’d talk for maybe an hour”: Ibid.

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   “It looked like we couldn’t have one”: Jan Hodenfield, “Bob Fosse Feet First,”
New
York Post,
April 21, 1973.

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   Neil Simon was rewriting constantly: Neil Simon,
Rewrites: A Memoir
(New York: Simon and Schuster, 1996), 110–12.

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   “You know at this point”: Richard and Betsy Gehman, “The Seven Caesars,”
Theater
Arts,
November 1962.

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   “You mean I got to say it exactly this way?”: Gilbert Millstein, “This Caesar Has to Take Orders,”
New York Times,
November 11, 1962.

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   “He always seemed like he wanted”: Feuer and Gross
, I Got the Show Right Here,
235.

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   “Basically, Sid was a brilliant”: Linda Posner (Leland Palmer), interview with the author, July 23, 2010.

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   “There was a joke”: Richard Lenon, “The Conquest of the Seven Caesars,”
Newsweek,
November 26, 1962.

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   “It was during the Cuban Missile Crisis”: Mervyn Rothstein, “The Seven Lives (and 36 Costumes) of Sid Caesar,”
New York Times,
November 1, 1998.

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   Simon took calls: Ibid.

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   “I don’t think there is any”: Loney, “The Many Facets of Bob Fosse.”

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   “I’ve never been in this position”: Simon,
Rewrites,
113.

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   standing in tuxedos at the back: Neil Simon, Bob Fosse Memorial, Palace Theater, October 30, 1987, New York Public Library for the Performing Arts, Theatre on Film and Tape Archive.

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   “Bob very simply put his arms down”: Ibid.

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   Fifteen minutes later, when Fosse was: Ibid.

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   “If all the theatrical platitudes of”: Walter Kerr, “‘Little Me’—Tour de Farce for Sid Caesar,”
Los Angeles Times,
December 2, 1962.

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   “I have the feeling”: Whitney Bolton, “Theater,”
New York Morning Telegraph,
November 26, 1962.

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   “If it’s a boy, Nicholas”: Gottfried,
All His Jazz
, 156.

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   “I can’t explain it”: Robert Wahls, “Bob Who? Bob Fosse!,”
New York Sunday News,
November 26, 1972.

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   “I’ve been dancing since”: Bob Fosse acceptance speech,
Dance
Magazine
awards, New York Athletic Club, April 23, 1963.

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   “He was so charming and sweet”: Kristoffer Tabori, interview with the author, February 23, 2011.

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   “After his number, he came over”: Ibid.

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   “I adored him”: Rita Gardner, interview with the author, February 14, 2011.

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   “I could see him really helping her”: Kristoffer Tabori, interview with the author, February 23, 2011.

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   Joey seemed softer, with a natural confidence: Ibid.

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   “Fosse had an incredible sense”: Ibid.

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   She could remember flipping between: Robert Wahls, “Gwen Verdon, the Eternal Gypsy,”
New York Sunday News,
June 1, 1975.

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   having lost Jerome Robbins to script: Deborah Jowitt,
Jerome Robbins: His Life, His Theater, His Dance
(New York: Simon and Schuster, 2004), 346.

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   and, he thought, for Gwen: LOC, box 44A, note to Perlman.

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   approached Stark and Merrick with the idea: Bob Fosse/Jack Perlman correspondence, LOC, box 44A.

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   the rider stated: Rider to Fosse’s
Funny Girl
contract, June 28, 1963, LOC, box 44A.

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   tabled the rights discussion in good faith: Fosse’s handwritten farewell letter to
Funny Girl
company (September 1963), LOC, box 44A.

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   The lyrics, he said, made no sense: Gottfried,
All His Jazz
, 162.

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   Fosse heard Stark had placed: Fosse’s farewell letter to
Funny Girl
company.

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   he wrote a six-page letter explaining: Ibid.

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   fired off a telegram threatening: Ray Stark telegram to Bob Fosse, September 17, 1963, LOC, box 44A.

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   pulled her aside: Linda Posner (Leland Palmer), interview with the author, July 23, 2010.

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   Palmer’s hotel-room phone rang: Ibid.

TWENTY-FOUR YEARS

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   “Nicole kept Bob in life”: Ann Reinking, interview with the author, November 15, 2010.

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   he vowed to put aside, for her: Tony Stevens, interview with the author, February 8, 2011.

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   “When Nicole came along”: Fred Mann III, interview with the author, February 22, 2011.

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   “He’s a fabulous father to Nicole”: Suzanne Daley, “Stepping into Her New Shoes,”
New York Times,
June 21, 1981.

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   “There was this point of great happiness”: Paul Rosenfield, “Fosse, Verdon and ‘Charity’: Together Again,”
Los Angeles Times,
July 21, 1986.

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   decided Verdon, at thirty-eight, was too old: Martin Gottfried,
All His Jazz
(Cambridge, MA: Da Capo, 1998; first published by Bantam in 1990), 161. Citations refer to the Da Capo edition.

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   Fosse and Verdon didn’t see Nazi Germany: Ibid.

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   heard at Gus Schirmer’s apartment: “Fosse Account of Events” (Jack Perlman’s notes on Charnin suit), LOC, box 26C.

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   told him to see Fellini’s film: Ibid.

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   “Harlequin is a well rounded”: “Gwen Verdon as Brokenhearted Harlequin,”
Life
, April 14, 1958.

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   midway through, Fosse knew: “Fosse Account of Events” (Jack Perlman’s notes on Charnin suit), LOC, box 26C.

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   Fryer admitted he felt only so-so: Ibid.

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   privately encouraged Fosse to stay: Ibid.

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   That night Fosse could not sleep: Ibid.

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   “Bob would be furious if”: Laurent Giroux, interview with the author, December 13, 2010.

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   In nine pages: Interviews with Geraldine Fitzgerald, Gwen Verdon, Marian Seldes, and Elizabeth McCann,
CUNY Spotlight,
CUNY-TV, 1991, New York Public Library for the Performing Arts, Theatre on Film and Tape Archive.

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   Fosse got a similar response from: Jack Perlman’s notes on Charnin suit, LOC, box 26C.

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   the Tango Palace: Bob Fosse’s notes for “Dance Hall,” LOC, box 26D.

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   This time Fryer, Carr, and Verdon: Jack Perlman’s notes on Charnin suit, LOC, box 26C.

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   Fryer and Carr suggested Martin Charnin: Ibid.

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   “The first day I met Fosse”: Martin Charnin, interview with the author, December 3, 2011.

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   Shopping for a composer, Fosse reached out: Jack Perlman’s notes on Charnin suit, LOC, box 26C.

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   “One man did a great big”: Susan Loesser,
A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life
(New York: Donald I. Fine, 1993), 242.

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   “I knew we had trouble”: Lionel Chetwynd, “Except for Bob Fosse,”
Penthouse,
January 1974.

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   “Bobby worked morning, noon, and night”: Phyllis Newman, interview with the author, February 9, 2011.

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   “He would always be checking with her”: Don Emmons, interview with the author, April 18, 2011.

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   “In rehearsal, Loesser told me to”: Stan Page, interview with the author, July 15, 2011.

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   suggested they cut their losses: Jo Loesser, interview with the author, May 9, 2011.

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   “Well, so the kid doesn’t go”: Margery Beddow,
Bob Fosse’s Broadway
(New York: Heinemann, 1996), 36.

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   “The cast was so distraught”: Kathryn Doby, interview with the author, November 27, 2010.

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   “Women are very attracted to power”: Jan Hodenfield, “Bob Fosse Feet First,”
New York Post,
April 21, 1973.

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   “It takes two to play that game”: Christine Colby, interview with the author, March 20, 2011.

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   “We were almost done with Bob’s new”: Kathryn Doby, interview with the author, November 27, 2010.

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   Fosse watched as “Tears of Joy” evolved: Ibid.

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   “That’s how far the cast would go”: Ibid.

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   Fosse took actor John McMartin for a drink: John McMartin, interview with the author, November 8, 2010.

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   Fosse held a backers’ audition: Jack Perlman’s notes on Charnin suit, LOC, box 26C.

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   “I tried in
Middle of the Night
”: Paddy Chayefsky, “Not So Little,”
New York Times,
July 15, 1956.

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   “grasping, vicious, and pandering”: Paddy Chayefsky, “In Praise of Reappraised Picture-Makers,”
New York Times,
January 8, 1956.

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   “I swore I’d never again let”: Cecil Smith, “Chayefsky: Disciple of Making It Right,”
Los Angeles Times,
November 7, 1954.