Ann Awakening

Friday, Sept. 13, 2002 | 3:44 a.m.

WEEKEND EDITION: Sept. 15, 2002

Articulate hand gestures. Derby hats. Pelvic thrusts and sexual suggestiveness.

The characteristic dance traits of choreographer Bob Fosse were not only an eclectic mix of the dancer's vaudevillian background and diverse interests, but a reflection of his physical self.

The result was so fittingly peculiar it revolutionized dance on Broadway and became the late artist's indelible trademark.

Choreographer and director Ann Reinking was in her early 20s when she began working with Fosse as a dancer in the 1972 musical, "Pippin." Soon she became widely known as a Fosse dancer, his muse and his friend, replacing Gwen Verdon (who died in 2000) in "Chicago" and starring as Fosse's lover in his semi-autobiographical movie, "All That Jazz."

Today the 52-year-old Reinking is considered Fosse's protege, carrying on a style difficult to imitate. She won a 1997 Tony Award for choreography in the revival of "Chicago."

"Fosse," a retrospective of Fosse's work, received three Tonys in 1999. The production was a collaboration of Reinking, Chet Walker and the late Verdon, who was Fosse's ex-wife and a star of his shows.

The touring production of "Fosse" opens its 98-city tour this week at Aladdin Theatre for the Performing Arts.

Reinking recently talked with the Las Vegas Sun about "Fosse" the musical, Fosse the choreographer and her ongoing endeavors.

Las Vegas Sun: Many people today are performing Fosse moves. What's interesting is that Fosse basically recreated himself in his choreography.

Ann Reinking: Yes. You also see his history and training, what he likes -- Fred Astaire, African-American, vaudeville, burlesque. He was very influenced by Jack Cole.

On top of that he was a maverick dancer. But on top of that he was crooked. He was pigeon-toed, slightly bowlegged. His shoulders were uneven. That bent look, that broken-doll look he just utilized. He loved handwork. But he didn't like the way his hands looked (thus the gloves).

He knew the only way that he was going to succeed was to distinguish himself from the rest of the group. Instead of trying to hide your deficiencies just go with it.

Sun: You've often said his work is filled with paradox and irony. Why do you think he added those elements?

AR: I think he found it more interesting. Human beings are more paradoxical. We don't think of one thing at one time. We're very complex people. We have a lot more layers. And I think one thing he enjoyed was putting up real human beings and showing the best and the worst.

Sun: Fosse was known as a workaholic perfectionist who obsessed over his work. Is it difficult to put something like this together knowing that he was so particular?

AR: It was almost a five-year process. The training within that five years was an immense amount of training ... All the dancers and all the performers who Bob worked with.

(And) everybody he touches is like that. Gwen (Verdon was) a real perfectionist. So am I. Anybody who has worked with Bob has picked up those habits.

Sun: How was it decided which numbers would be featured in "Fosse"?

AR: It was very hard to pick. You had to make a decision. Whatever you let go of was really brilliant too. There are famous numbers that aren't in the show. It just depended on how one thing flowed into a number, and making sure you did see a spectrum of his work. All decades of his work are represented.

If I had trouble doing a transition I knew this number didn't belong with that number.

Sun: Fifteen years after his death are people still realizing his contributions?

AR: They're certainly being reminded, (but) refreshed. The thing that does make me sad is that his work really is classic. It does stand the test of time. You can perform it anytime and I wish he could have seen that and what he achieved.

Sun: You grew up studying ballet, you studied with the San Francisco School of Ballet and with Robert Joffrey. When did you switch to musical theater?

AR: As an amateur I sort of had one foot in musical theater and also serious (ballet) ... Robert Joffrey heard me sing and said if you want a career in ballet you can have it but if you went to Broadway you could be really successful.

Sun: Broadway Theatre Project that you founded in Florida has brought in some big talent to work with the students over the years.

AR: The generosity of my colleagues has been astounding. There's an unspoken rule or rules in doing theater: We're a hands-on craft. You need the teachers. You need the influence. You need the inspiration. It's an unspoken law that you should pass on what you know.

We have kids now that are working on Broadway. On TV. It's very rewarding.

Sun: You recently worked with Ballet Hispanico. What other projects are you involved with?

AR: (Burt) Bacharach's "The Look of Love." It's going to be on Broadway. I just finished doing "The Visit" with Chita Rivera. That was in Chicago. It looks like it will come to New York.

Sun: What are your feelings on making the transition from longtime dancer to choreographer to director?

AR: I'm lucky that I can continue my creative life by teaching, by choreography, by directing. It's like being an athlete. You miss it. But I'm not out to pasture. I'm not separated from the world I love.