Sultry ‘Fosse’ slithers and sizzles at Aladdin Theatre

Marilyn LaRocque

Friday, Sept. 20, 2002 | 9:56 a.m.

All the trademark moves of innovative, brilliant dancer, choreographer and director Bob Fosse vibrate across the stage of the Aladdin Theatre for the Performing Arts.

Evident in "Fosse" are the angular, disjointed body postures, the slithering, the sensual undulations, the suggestive body contact, the sizzling jazz rhythms, the hip thrusts and break dancing that was decades ahead of Michael Jackson and street performers in New York, and the signature "teacup tipping" gesture and doffing of the omnipresent black bowler.

An energetic troupe of young dancer-singers, backed by a sensational five-piece band hidden behind a curtain at the rear of the stage, re-created many of Fosse's dance numbers. Some are familiar, some obscure, and all are from the award-winning Broadway musicals and films Fosse choreographed and/or directed (Fosse won nine Tony Awards, an Oscar and three Emmys).

"Fosse" is the creation of Richard Maltby Jr., Chet Walker and Ann Reinking. The production earned a Tony Award for Best Musical in 1999 (the program still lists Gwen Verdon, Fosse's wife and star of several Fosse productions, who died in 2000, as artistic advisor).

Rodrick Covington, the lead performer, opened the show with a laid-back styling of "Life is Just a Bowl of Cherries" from "Big Deal," Fosse's last production (1986, another Tony winner for Best Choreography). Covington's strong voice, muscle-flexing body, rippling abs and evocative dancing are star quality. He had several other stylish appearances throughout the evening. It's hard to believe this is his first role with a national touring company.

"Fosse's World" put the entire cast on stage in black stretch leotards with those bowler hats. "So cool," said the woman behind me. For much of the show, the whole stage was black, too, which added to the "Fosse look" but rarely related to the original staging.

Fosse's version of "Bye, Bye Blackbird" ("Liza With a Z," 1972) moved clusters of black-clad dancers across the stage like tightly racked pool balls. Their breathy singing fit the mood perfectly. In contrast, massive, shimmering red-and-silver swagged drapes framed mini-skirted "hostesses" lounging over the dance hall railing trying to entice a "Big Spender" ("Sweet Charity," 1966).

"Dancing in the Dark" was a vocal solo by Covington backed by a dancing couple. The waltz rhythm was a welcome, graceful change from the high-energy numbers, but the peaceful interlude lasted only briefly before Covington shifted into jazzy, syncopated beat-and-scat singing.

The first "act" ended with "Steam Heat" from "The Pajama Game" (1954). It was expertly danced and sung by Dustienne Miller, Richard J. Hinds and Brent McBeth, dressed again in black.

I personally missed the setting of the original production with the pajama factory's union workers in the boiler room. It could be argued that "Fosse" focuses on choreography, not scenery. Even so, after nearly an hour of "basic black" a splash of color and a big overhead pipe or two would have been refreshing.

On the plus side, this was one of the few segments of the show in which the band did not drown out the singers, and the audience could hear and understand the lyrics.

The second half of the show was full of great entertainment. It begin with, surprise, bright lights and colorful costumes, a comic mock baseball game ("I Gotcha" from "Liza With a Z") with the "players" in red and white uniforms, juggling baseballs and twirling bats, and intentionally dropping them, and whirling through tumbling routines.

Covington was joined by Emilee Dupre and Kristina Fernandez for a sophisticated interpretation of "Dancin' Dan -- Me and My Shadow" pairing. "Mein Herr" from "Cabaret" (1972) was sleezy, sultry and seductive as the women dancers writhed and draped themselves over, and balanced on top of, bar chairs.

The lead singer/dancer, Jessica Lea Patty, was marvelous. Covington returned with a very good male singer, Jonathon Grant, and "young spirit" dancer Omar A. Merced for "Mr. Bojangles" ("Dancin'," 1978). His polished, understated soft-shoe styling of an old man was an adroit contrast to the classical, ballet-like dancing of his shadow.

And when he lit a cigar, the aroma wafted out to the theater.

The biggest crowd-pleasing number was the finale, Benny Goodman's "Sing, Sing, Sing" ("Dancin' "). With sun-like rays fanning upwards on the backdrop, and the dynamite band now in view, the entire cast threw themselves into a highly charged, fast-moving last tribute.

Some individual dancers, and each of the musicians, were spotlighted in excellent solos. There was a slithering group slinking across the stage, some spectacular tap dancing by Ryan Kasprzak and Brent McBeth -- the only time this dance form appeared in the show, and a unity and interpretive synergy that wasn't consistently present during the evening.

"Fosse" ended with a standing ovation.