“Fosse/Verdon”

Susan Granger’s review of “Fosse/Verdon” (FX)

For decades, theater folk in Manhattan have been fascinated by the scrappy, symbiotic relationship of dancer/choreographer Bob Fosse and his favorite leading lady, Gwen Verdon. With seven Emmy nominations, this eight-part FX mini-series is as good as any major motion picture.

Inspired by Sam Wassen’s biography “Fosse,” writer Steven Levenson (“Dear Evan Hanson”) was intrigued by Fosse’s showmanship: “His work made musicals a place where you could tell stories that were dark and sexy and dangerous. That really changed the course of musical theater.”

“What made the story so different and not just another glimpse of self-destructive genius was this presence of Gwen and her unsung role in his work and in his life. It’s an incredible story of marriage,” Levenson goes on. “And it seemed particularly timely during the #MeToo movement.”

The fragmented, non-linear plot covers the time between 1955, when sexually compulsive, substance-abusing Fosse (Sam Rockwell) choreographed “Damn Yankees” and fell in love with Verdon (Michelle Williams), and 1987, when he died in her arms after a heart attack during a “Sweet Charity” revival in Washington, D.C.

The first two episodes chronicle the 1971 filming of “Cabaret” in Munich and Fosse’s affair with a German translator. In episode three, the focus turns to Verdon, their supportive relationship and her close friendship with dying Joan Simon, wife of playwright Neil. Then the Fosses’ daughter Nicole is born and Ann Reinking (Margaret Qualley) arrives on the scene.

Throughout their volatile, razzle-dazzle relationship, Verdon is keenly aware of Fosse’s depression and suicidal tendencies. “What did I do to deserve you?” he asks. “You know, I don’t know,” she answers.

In an incandescent performance, Michelle Williams captures Verdon’s intuitive intelligence and irresistible exuberance, erotically slouching her shoulders and pivoting her pelvis, impersonating one of Broadway’s best dancers, while Sam Rockwell depicts the workaholic essence of Fosse’s weariness.

So how will “Fosse/Verdon” do at the Emmys? On Sept. 22nd we’ll find out.

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