Fosse (89 page)

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   sent out for Preparation H: Sonja Haney, interview with the author, February 27, 2011.

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   “If only all the fuses would blow”: John Hallowell, “Rebellion on Broadway as Stars Balk at Lengthy Runs,”
Life,
July 21, 1967.

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   “Both Gwen and I were watching”: Sonja Haney, interview with the author, February 27, 2011.

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   “Bob wasn’t really into the dancing”: Larry Billman, interview with the author, February 21, 2011.

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   “He was so involved”: Sonja Haney, interview with the author, February 27, 2011.

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   Fosse sat down at the lighting console: Ibid.

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   “Bob was so focused on technique”: Lonnie Burr, interview with the author, February 21, 2011.

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   “Hey, Bob!” Sammy yelled: Ibid.

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   “That’s when Bob and I really”: Sonja Haney, interview with the author, February 27, 2011.

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   “Big Spender” Fosse shot twice: Ibid.

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   would have kept shooting: Ibid.

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   “Seeing how upset I was”: MacLaine,
My Lucky Stars,
179.

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   The dailies were a sensation: Sonja Haney, interview with the author, February 27, 2011.

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   Meanwhile, Fosse fought Universal over: Martin Gottfried,
All His Jazz
(Cambridge, MA: Da Capo, 1998; first published by Bantam in 1990), 198. Citations refer to the Da Capo edition.

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   “That last minute in”: Terry Clifford, “Home Town Boy Bob Fosse Makes Good,”
Chicago Tribune,
April 20, 1969.

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   vacillated up to the very last minute: Sonja Haney, interview with the author, February 27, 2011.

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   Both endings tested to mixed results: Ibid.

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   “When I saw the movie”: Ibid.

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   “If a director overuses it”: Boyle, “Bob Fosse Began Early.”

“If it’s a flop”: Sonja Haney, interview with the author, February 27, 2011.

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   “Every moment of creating this dance”: Reams, Marymount Manhattan College.

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   “Didn’t do anything except feel sorry”: Bob Fosse, 1969 daily diary, LOC, box 55G.

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   “That was my fault”: Lionel Chetwynd, “Except for Bob Fosse,”
Penthouse,
January 1974.

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   Screenwriter Peter Stone would indict: Gottfried,
All His Jazz
, 197.

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   midway into Fosse’s
Little Me
deal: Extensive legal documents and correspondence pertaining to
MCA Artists v. Robert Fosse,
LOC, box 51A.

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   getting a little foothold on the deal: For more on the background of Creative Management Associates, see David McClintick,
Indecent Exposure
(New York: William Morrow, 1982).

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   Fosse signed with CMA: Fosse’s 1969 CMA contract, LOC, box 51A.

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   Back in New York, he kept: From “A Concerned Friend,” LOC, box 53B.

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   for her, he vowed to control his death wish: Ibid.

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   Herb Schlein, permanently concerned: Rosemary Edelman, “The Pastrami Philosopher,”
New York,
July 23, 1979.

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   “He knows every cockamamie show”: Ibid.

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   “You would look over”: Dan Siretta, interview with the author, February 22, 2012.

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   “[Paddy’s] a very compassionate”: Sondra Lowell, “Fosse: Still Explaining His Movie,”
Los Angeles Times,
February 3, 1980.

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   So when Paddy told Fosse: Bob Fosse/Paddy Chayefsky,
Big Deal
correspondence, LOC, box 66A.

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   “marred only by Fosse’s depression”: Robert Alan Aurthur
,
“Hanging Out,”
Esquire,
August 1973.

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   for an amazing $800,000: Gottfried,
All His Jazz,
202.

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   “It’s a strange relationship, friendship”: Steve Tesich, 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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   “It’s like having a tiny apartment”: Ibid.

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Prematurely, Fosse sent
Big Deal:
Bob Fosse/David Picker
Big Deal
correspondence, November 11, 1969, LOC, box 66A.

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   Fosse was so desperate to work he even: Bob Fosse/Ray Stark
Big Deal
correspondence, December 29, 1969, LOC, box 66A.

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   One night, Hal and Judy Prince invited: Gottfried,
All His Jazz,
203.

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   “There were two musicals onstage”: Harold Prince, interview with the author, October 6, 2010.

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   “The first day of rehearsal”: John Kander, interview with the author, November 10, 2010.

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   Fosse started calling: Cy Feuer with Ken Gross
, I Got the Show Right Here
(New York: Simon and Schuster, 2003), 242–43.

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   Feuer had pasta: Ibid.

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   He got a call from Sue Mengers: Larry Turman, interview with the author, July 26, 2010.

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   Fosse took a trip up the California coast: Bob Fosse/Larry Turman,
Burnt Offerings
correspondence, LOC, box 13C.

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   he expected to meet with Marasco: Ibid.

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   “I knew the best time to get”: Emanuel Wolf, interview with the author, March 17, 2012.

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   “The worst tragedy can befall me”: Drew, “Life as a Long Rehearsal.”

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   “I was living like a wife and a mother”: Suzanne Daley, “Stepping into Her New Shoes,”
New York Times,
June 21, 1981.

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   “They
all
thought I could be controlled”: Aurthur, “Hanging Out.”

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   Sitting across from: Marty Baum interview,
Cabaret,
special ed. (Warner Home Video, 1998), DVD.

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   A meeting of the
Cabaret
production team was set for January 20: Bob Fosse, 1970 daily diary, LOC, box 55G.

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   “I didn’t find him the happiest”: Patrick McGilligan, ed.,
Backstory 3: Interviews with the Screenwriters of the ’60s
(Berkeley: University of California Press, 1997), 127.

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   “I lied”: Feuer and Gross,
I Got the Show Right Here,
245.

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   too loud, the
New York Times
thought: John S. Wilson, “Liza Minnelli Charming Empire Room Audiences,”
New York Times,
February 10, 1970.

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   “It’s a long, hard battle”: Ibid.

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   Fosse met Minnelli in the Waldorf: “Liza Minnelli,”
The Rosie Show,
OWN-TV, aired March 12, 2012.

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   dove deeper into research: Fosse correspondence, LOC, box 55G.

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   George Grosz: Kathryn Doby, interview with the author, November 27, 2010.

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   the Surtees issue had stalled: Feuer and Gross,
I Got the Show Right Here,
246.

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   “No,” Fosse heard around midnight: Bob Fosse/Ernie Martin correspondence, LOC, box 16B.

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   he should do whatever he wanted: Gottfried,
All His Jazz,
209.

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   “If you quit”: Shaun Considine,
Mad as Hell: The Life and Work of Paddy Chayefsky
(New York: Random House, 1995),
294.

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   “You no-good son of a bitch”: Feuer and Gross
, I Got the Show Right Here,
247.

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   He could see Fosse hadn’t slept: Ibid.

SIXTEEN YEARS

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   “You were either a friend or”: Cy Feuer, interviewed by Michael Kantor, February 23, 1999, New York Public Library for the Performing Arts, Theatre on Film and Tape Archive.

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   Fosse barred him from discussions: Peter MacDonald, interview with the author, March 8, 2012.

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   “For six weeks”: Wolfgang Glattes, interview with the author, November 27, 2010.

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   “Bob was obsessed with blood”: Ibid.

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   this time, with Fosse’s blessing: Bob Fosse/Mary Dorfman correspondence, December 11, 1971, LOC, box 16B.

Michael York: Michael York, interview with the author, December 22, 2010.

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   “That two weeks”: Ibid.

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   Trailed by her dog Ocho: Rex Reed, “Liza Minnelli Filming ‘Cabaret,’”
Washington Post,
July 25, 1971.

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   Louise Glaum: Liza Minnelli interview,
Liza with a Z
(Showtime Entertainment, 2006), DVD.

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   “needed to be special”: Liza Minnelli AFI Interview,
http://www.youtube.com/watch?v=vkqK60eGkq
.

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   “Well?” she asked, modeling: “Liza Minnelli,”
Inside the Actors Studio,
Bravo, February 5, 2006.

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   “If you feel like crying,” he told her: Gwen Verdon interview,
Dance in America,
WNET archives, September 6, 1989.

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   “What’s wrong?” Wolf asked: Emanuel Wolf, interview with the author, March 17, 2012.

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   He called Wolf: Ibid.

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   “His concentration was so intense”: Wolfgang Glattes, interview with the author, November 27, 2010.

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   “When he was ready to go”: Ibid.

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   “It was always very comfortable”: Michael York, interview with the author, December 22, 2010.

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   “I tried to make the dances look like”: Glenn Loney, “The Many Facets of Bob Fosse,”
After Dark,
June 1972.

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   opted out of storyboarding: Wolfgang Glattes, interview with the author, November 27, 2010.

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   “I basically try to get an overall shot”: Betty Spence, “Bob Fosse—He’ll Take the Risks,”
Los Angeles Times,
May 17, 1981.

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   “Every time I do that”: Ibid.

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   “I keep my options open as long as possible”: Ibid.

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   “You see, the wonderful thing about a camera”: Bob Fosse,
Tomorrow with Tom Snyder,
NBC, January 31, 1980.

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   “They have to keep pulling me out”: Spence, “Bob Fosse.”

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   “Feuer wanted a kind of Barbra Streisand”: Peter MacDonald, interview with the author, March 8, 2012.

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   “All through the shooting”: Michael York, interview with the author, December 22, 2010.

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   “After a run-in with Feuer”: Peter MacDonald, interview with the author, March 8, 2012.

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   “I’m sure it was a miscommunication”: Kathryn Doby, interview with the author, November 27, 2010.

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   “I asked for some real thirties clothes”: Reed, “Liza Minnelli Filming ‘Cabaret.’”

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   “Gwen came and literally went”: Michael York, interview with the author, December 22, 2010.

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   opposite sides of the screening room: Wolfgang Glattes, interview with the author, November 27, 2010.

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   Fosse turned around and asked Feuer: Peter MacDonald, interview with the author, March 8, 2012.

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   “Watching dailies”: Michael York, interview with the author, December 22, 2010.

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   Fosse was already referring to: Emanuel Wolf, interview with the author, March 17, 2012.

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   “By the end of the shooting day”: Louise Quick,
In the Company of Friends: Dancers Talking to Dancers II, the Women of Fosse,
videotaped at the New Dance Group, New York, on October 7, 2007.

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   playing badminton on a patch: C. Robert Jennings, “Divine Decadence Provides the Theme for German ‘Cabaret,’”
Los Angeles Times,
June 27, 1971.

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   reminiscing all the way back to: Joyce Haber, “Joel Grey Talks about the Good Old, Bad Old Days,”
Los Angeles Times,
March 4, 1973.

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   “Friday nights after shooting”: Wolfgang Glattes, interview with the author, November 27, 2010.

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   “It would sometimes go on to five”: Ibid.

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   “Ilse was a lovely lady”: Peter MacDonald, interview with the author, March 8, 2012.

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   “It was as if he lived”: Cy Feuer and Ken Gross
, I Got the Show Right Here
(New York: Simon and Schuster, 2003),
246
.

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   “Do you think Bobby’s gay?”: Peter MacDonald, interview with the author, March 8, 2012.

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   “She was angry, no?” Ilse asked: Martin Gottfried,
All His Jazz
(Cambridge, MA: Da Capo, 1998; first published by Bantam in 1990), 213. Citations refer to the Da Capo edition.

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   Ilse, meanwhile, did Fosse’s spying: Peter MacDonald, interview with the author, March 8, 2012.

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   Feuer appeared: Ibid.

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   “Bob,” Feuer said: Ibid.

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   Furious, Fosse wrote a letter: Bob Fosse/Ernie Martin correspondence, LOC, box 16B.

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   dark blue velour: Gwen Verdon interview,
Dance in America,
WNET archives, September 6, 1989
.

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   “He’s impossible,” she complained: Ibid.

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   “She walked in on him”: Janice Lynde, interview with the author, May 4, 2011.

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   Fosse got her letter in Berlin: Gottfried,
All His Jazz,
219.

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   The evening before
Cabaret
wrapped: Peter MacDonald, interview with the author, March 8, 2012.

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   “Now that I bought you all dinner”: Ibid.

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   Michael York attempted very graciously: Michael York, interview with the author, December 22, 2010.

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   “If you don’t know what I fucking think”: Peter MacDonald, interview with the author, March 8, 2012.