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How Iconic Choreography Elevated ‘Chicago’ and ‘A Chorus Line’ to Timeless Classics

Fifty years on, the groundbreaking choreography of Bob Fosse and Michael Bennett continues to define the enduring legacies of ‘Chicago’ and ‘A Chorus Line,’ two musicals that revolutionized dance on Broadway.

Leo Maxwell
Published • 5 MIN READ
How Iconic Choreography Elevated ‘Chicago’ and ‘A Chorus Line’ to Timeless Classics
Robyn Hurder delivering a standout performance of “One,” the iconic finale from “A Chorus Line.”

Half a century ago, two legendary director-choreographers, Bob Fosse and Michael Bennett, crafted musicals that have become pillars of theatrical history: ‘Chicago’ and ‘A Chorus Line.’ These productions not only captivated audiences but also set new standards in integrating dance as a storytelling centerpiece.

Both shows placed dance at their core, yet approached it differently. ‘Chicago’ portrayed the cynical world of 1920s vaudeville murderesses, with choreography that reflected its sharp, showbiz-savvy tone. In contrast, ‘A Chorus Line’ offered an intimate glimpse into the lives of Broadway hopefuls, shaped by their real stories and framed through the lens of a demanding audition process.

To mark the 50th anniversaries of these landmark musicals, dancer Robyn Hurder—who has featured in multiple productions of both shows over the past twenty years and earned recent acclaim for her work in ‘Smash’—demonstrated key choreography highlights. She was supported by experts closely linked to the originals.

For ‘A Chorus Line,’ Hurder received guidance from Baayork Lee, an original cast member who has directed and preserved the show’s choreography, including for an upcoming anniversary benefit performance. For ‘Chicago,’ Dana Moore from the Verdon Fosse Legacy organization—dedicated to maintaining Fosse’s choreographic heritage—offered coaching. Moore’s experience includes working directly with Fosse and participating in multiple revivals of both musicals.

Lee described ‘A Chorus Line’ choreography, which Bennett developed alongside Bob Avian, as focused on “angles and patterns.” This precision was evident in Hurder’s solo rendition of the ensemble closing number, “One,” where every pose formed a crisp, geometric shape reminiscent of the Rockettes’ exactitude. Lee also helped refine subtle details, like finger placement on an imaginary top hat, while Hurder effortlessly captured the choreography’s vibrant energy.

The demanding solo “Music and the Mirror,” in which the character Cassie reveals her passion for dance while auditioning for the chorus, requires lightning-fast, forceful movements. Hurder likened it to being a “little tornado,” emphasizing the necessity of strong technique paired with a genuine connection to the music.

She explained that while technical mastery is crucial, the performance must also convey immersion in the music. If a dancer truly loses themselves in the moment, it can feel transcendent, she said, “like being close to God.”

In contrast, the choreography for ‘Chicago’ called for a restrained, subtle approach. Moore advised Hurder to avoid overexertion, emphasizing Fosse’s signature style of cool control and detailed isolation. Small adjustments, such as tilting shoulders by mere fractions of an inch, were crucial in balancing allure with detachment, as showcased in the opening number “All That Jazz,” where the flick and snap of fingers communicate as much as the larger movements.

Hurder recalled imagery passed down from Fosse and his collaborator Gwen Verdon to perfect the technique: one pose should feel like squeezing an orange between the shoulder blades, while a bent wrist should evoke the sensation of water dripping off the fingertips.

Despite minimal motion, the dancers radiate intense energy—a concept Verdon described as “putting the car in neutral and revving it.”

“A simple finger turn can express a multitude of emotions,” Hurder noted. “The thrill comes from harnessing that power, locking eyes with an audience member, and making them feel a bit unsettled.”

The ‘Hot Honey Rag’ number features a series of sultry jazz and burlesque moves—turned-in knees, rolling hips, shimmying shoulders—that trace their roots back to vaudeville performers like Joe Frisco and Black entertainers such as Snakehips Tucker. Fosse’s genius was in refining and recontextualizing these steps into a polished and distinctive style.

Moore highlighted that Fosse’s choreography embodies the principle taught by acting coach Sandy Meisner: “living truthfully under imaginary circumstances.” Overworking movements breaks that authenticity, so dancers rehearse extensively until the technique becomes second nature and they can fully inhabit their roles.

Comparing the two choreographic styles, Hurder described them as opposites—‘Chicago’ is inward and understated, while ‘A Chorus Line’ is outward and expressive. Both demand exceptional skill and exertion, with Fosse’s seemingly simpler moves proving just as physically taxing as Bennett’s intricate patterns.

During rehearsals, Hurder remarked, “When you do it right—ow!” Moore smiled in response, explaining that after that initial strain comes a profound sense of accomplishment and discovery: “I didn’t know I could do that and feel that way.”

Though created in the same era for similarly trained dancers, the two shows have distinct histories. Some performers from the original workshops for ‘A Chorus Line’ left to join ‘Chicago,’ which was already advancing toward Broadway. Moore noted that modern-day dancers may lack that shared foundational training, which presents challenges when teaching these classic choreographies.

Another notable difference is that multiple official versions of Fosse’s choreography exist, reflecting adaptations for performers such as Liza Minnelli and variations introduced by different directors. The Verdon Fosse Legacy embraces this diversity, affirming that “all versions are valid.”

In contrast, Bennett’s choreography varied significantly between shows, with each production boasting its own distinct style—‘Promises, Promises’ differs greatly from ‘A Chorus Line,’ which in turn contrasts with ‘Dreamgirls.’

Fosse’s cultural presence remains more prominent today, bolstered by his film work and the ongoing success of the ‘Chicago’ revival. Conversely, revivals of Bennett’s musicals often forgo his original choreography, with the notable exception of ‘A Chorus Line.’

Baayork Lee, who participated in the original creation of ‘A Chorus Line,’ emphasized her commitment to maintaining the show’s authentic form through her stewardship.

Leo Maxwell
Leo Maxwell

Leo provides commentary on the arts and cultural scene, alongside analysis of key political elections and campaigns.

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