![]() “When you’re in a space like that with people you love and trust, and you know that they love and trust you, and that you have each other’s backs so profoundly, it’s such a joy to go to work,” she continued.īut even encompassed in an environment of love and support, from the highest levels at FX, to directors and executive producers, with staff and talent at all levels, including her team of Mary Ann Lamb and Brandon Bieber, at some level Misner, like Blankenbuehler, had to face the reality of attempting to not just replicate the work of Fosse and Verdon, but to attempt to create in the same style. But it was a joy, because we want the best for each other.” “We were working whenever and however we could. “Susie and I, we were in that dance studio, we were meeting on Saturdays, we were meeting on Sundays, we were meeting after wrap at eight, nine, 10, 11 o’clock at night,” Williams told IndieWire. They were, but often side-by-side with Misner. What they can do that many dancers can’t, is bring full truth to a moment.”īut the choreographer means it when she says that Williams and Rockwell were working hard. But, that’s always going to fall short for them of what a professional dancer who’s done this for 30 years can do. “And God knows Michelle and Sam worked very, very hard to try to get the technique right. “When you’re an actor, you cannot be a perfectionist. “For a lot of choreographers it’s very hard to let go of the perfectionism of it all, especially when working in TV and film,” Misner observed. ![]() That the story is the thing, not necessarily the technique. It’s not so dissimilar from a moment in “Fosse/Verdon” itself which features Rockwell’s Fosse criticizing dancers during a rehearsal for “Chicago” and explaining to them that they’re all supposed to be murderers, so they shouldn’t have classic chorus line grins on their faces. So it’s not as intimidating as much as it was like a little fun puzzle.” “They’re already telling the story and then what I have to do is reverse engineer. “The beauty of working with two non-technicians like Sam and Michelle, is that they’re already there,” she continued. But I became more interested in what Bob Fosse and Jerome Robbins used to talk about all the time, which was story, story, story.” “Part of it was that I was such a good technician, my body would do anything I asked of it. “When I came back to the dance world, I became obsessed with the story part of it rather than the technical part of it,” Misner confessed. With individuals from The Verdon Fosse Legacy, including assistance from Valarie Pettiford, Dana Moore, and Lloyd Culbreath, on hand to promote and preserve the replication of the pair’s original artistic vision, Misner and her crew were able to give their attention over to the unique challenges of transforming two tremendously gifted actors – who were nevertheless not classically trained dancers – into passable representatives of two of the most brilliant talents to ever grace Broadway. In truth, Kail and Blankenbuehler weren’t wrong to think of Misner as a natural fit for the job, given her skill set. ![]() “Fosse/Verdon” Susan Misner as Joan McCracken
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