Latest / Making The Impact - A Dance Competition Podcast / Genre Spotlight - Fosse

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Genre Spotlight - Fosse · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_02: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_02: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_02: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_02: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:25
  SPEAKER_02: As a leader in the competitive dance world, Making the Impact has helped empower the next generation of dancers with important knowledge about the history of our art form.
• 0:33
  SPEAKER_02: This season, we're introducing genre spotlight episodes, highlighting the history of significant dance styles and speaking with dedicated artists in each craft.
• 0:42
  SPEAKER_02: Today on Making the Impact, we speak with two giants in the style of Thought Street, Dana Moore and Marianne Lamb.
• 0:50
  SPEAKER_01: Hey y'all, welcome to this week's episode of Making the Impact.
• 0:54
  SPEAKER_01: I'm your host, Courtney Ortiz, and I'm here, like always, with my wonderful co-host, Leslie Mueller.
• 0:59
  SPEAKER_02: Hello, Courtney.
• 1:00
  SPEAKER_02: Hello, listeners.
• 1:01
  SPEAKER_02: How are ya?
• 1:02
  SPEAKER_01: I'm doing good.
• 1:03
  SPEAKER_01: How's it going over there for you?
• 1:06
  SPEAKER_02: It's going.
• 1:07
  SPEAKER_02: It's just, it's like getting towards winter time, trying to be all cozy, trying to just enjoy the last little bit of fall here in November.
• 1:15
  SPEAKER_02: But we are so excited for this episode today, y'all.
• 1:18
  SPEAKER_01: Yes, we are thrilled to bring our genre spotlight to you, our very first one ever.
• 1:24
  SPEAKER_01: And today we're talking about the one, the only Fossy.
• 1:29
  SPEAKER_01: Can't wait to dive deep into this one, but first, let's hear from our sponsors.
• 1:34
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• 1:39
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• 2:01
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• 2:11
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• 2:17
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• 2:23
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• 2:32
  SPEAKER_01: Hey listeners, is your dancer looking for an intensive over-the-holiday break?
• 2:37
  SPEAKER_01: Well, Francisco Gulla Danceworks New Year's training camp is right around the corner.
• 2:42
  SPEAKER_01: Mark your calendars for December 28th through the 30th, 2024, in sunny Los Angeles, California.
• 2:48
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• 2:54
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• 3:07
  SPEAKER_01: And if your dancer can't commit to the full three-day event, don't worry, single-day class options are available.
• 3:13
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• 3:18
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• 3:27
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• 3:29
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• 3:36
  SPEAKER_01: Alright, Dance World, we're jumping in to this week's episode, and this is a brand new episode for Making the Impact.
• 3:43
  SPEAKER_01: We've done many different spotlights throughout our 200 episodes over here.
• 3:48
  SPEAKER_01: And this time we're changing it up a bit by focusing and zoning in on a specific genre and style of dance.
• 3:55
  SPEAKER_01: This is our very first genre spotlight, and I'm so excited to learn and educate all of our listeners out there more about this particular style of dance, which today we're talking about Fosse.
• 4:06
  SPEAKER_01: Ooh, and what does that mean?
• 4:08
  SPEAKER_01: I'm sure you've heard that name thrown around a bunch in dance education, but we're gonna dive deep into who is Bob Fossey, who is Gwen Verdon, and who are all of these amazing educators that have graced us throughout their time in history and dance.
• 4:23
  SPEAKER_01: But before we introduce our guests, we want to make sure that we give you a little bit of a rundown as to who we are talking about today and a brief history, which we're gonna hear so much more from our spectacular guests who are here.
• 4:37
  SPEAKER_01: But today we're talking all about the the genre of Fossey, which lives inside the jazz and musical theater genre of dance in our very first genre spotlight episode.
• 4:48
  SPEAKER_01: And I want to share a little bit more about the man himself.
• 4:51
  SPEAKER_01: Bob Fosse was an influential American choreographer, director, and filmmaker known for his distinctive style that blended jazz, theater, and dance.
• 4:59
  SPEAKER_01: Born on June 23, 1927 in Chicago, Fossey began his career in touring vaudeville shows and burlesque theaters, eventually moving on to be a dancer on Broadway before gaining recognition for his innovative choreography in musicals like Sweet Charity, Pippin, and Chicago.
• 5:16
  SPEAKER_02: Gwen Verden, an influential and talented dancer in her own right, also played a big part in the development of Fosse's style as his muse and later his wife.
• 5:24
  SPEAKER_02: His work was characterized by bold, angular movements, the use of props, and a focus on storytelling through dance.
• 5:30
  SPEAKER_02: Fosse also directed films such as Cabaret and All That Jazz, earning multiple Academy Awards and Tony Awards.
• 5:36
  SPEAKER_02: His legacy continues to shape contemporary musical theater and dance.
• 5:40
  SPEAKER_02: Fossey passed away on September 23, 1987, but his impact on the performing arts endures.
• 5:46
  SPEAKER_02: Now, listeners, we have a wonderful episode for you today.
• 5:49
  SPEAKER_02: We're going to learn even more about Bob Fossey, Gwen Verdon, and all of their influences on our dance today.
• 5:55
  SPEAKER_02: So, without further ado, Courtney, you want to introduce our guests?
• 5:59
  SPEAKER_01: We have two brand new guests joining us on the podcast, and they are both coming to us from the Verdon Fossey Legacy, which I'm sure they can tell you a little bit more about.
• 6:08
  SPEAKER_01: The first guest that I'm very excited to welcome is actually fun fact, a brand new judge to Impact Dance Adjudicators who just joined our roster this year.
• 6:17
  SPEAKER_01: So yay, she's gonna be judging for us, and we're so honored to have her.
• 6:21
  SPEAKER_01: And I also had the pleasure of meeting and working with her when I worked on Verdun Fossey on the FX show.
• 6:28
  SPEAKER_01: So that was really fun.
• 6:30
  SPEAKER_01: And that is our connection here.
• 6:31
  SPEAKER_01: I'm sure they're gonna tell you all about it.
• 6:33
  SPEAKER_01: I'm very excited to welcome Marianne Lamb to the podcast.
• 6:36
  SPEAKER_01: Welcome, Marianne.
• 6:37
  SPEAKER_04: I want to thank you so much, and it's an honor to be here, and it's an honor to work with you.
• 6:42
  SPEAKER_04: I'm like, I'm really thrilled to be part of your organization.
• 6:46
  SPEAKER_04: One thing I want to say about myself is that I've been a professional dancer since I was 16.
• 6:51
  SPEAKER_04: My first job was I was a Vegas show girl.
• 6:54
  SPEAKER_04: I mean, I at a very young age, I was told that I was not going to be a ballet dancer, and I was devastated.
• 7:01
  SPEAKER_04: And my dance teacher, Camille Chrysler, was like, either you do ballet or you go to Broadway.
• 7:06
  SPEAKER_04: I'm from Seattle, Washington.
• 7:08
  SPEAKER_04: I didn't even know what Broadway was.
• 7:09
  SPEAKER_04: That's how naive I was.
• 7:11
  SPEAKER_04: And so, but the one person I did know, and her poster was in my dance studio and growing up was Anne Ryan King.
• 7:18
  SPEAKER_04: We were both from Seattle, Washington.
• 7:20
  SPEAKER_04: And that um she was a legend.
• 7:23
  SPEAKER_04: Well, we're just 10 years apart, but she was a legend.
• 7:27
  SPEAKER_04: And I grew up wanting to be Anne Ryan King.
• 7:30
  SPEAKER_04: And so when I was 16, I became a professional Vegas show girl.
• 7:36
  SPEAKER_04: But throughout those two years working, my dance teacher kept on saying, I'm gonna take you to New York.
• 7:42
  SPEAKER_04: In 1978, I was 18.
• 7:45
  SPEAKER_04: I went to New York and I saw two Broadway shows.
• 7:47
  SPEAKER_04: And the first Broadway show was dancing.
• 7:50
  SPEAKER_04: And I got to see Anne Rein King and the entire dancing, you know, original company.
• 7:56
  SPEAKER_04: And I was like, I want to work with Bob Fossey.
• 8:00
  SPEAKER_04: I want to do this.
• 8:01
  SPEAKER_04: Now I'm gonna tell you right now, I never got to work with Bob Fossey.
• 8:05
  SPEAKER_04: I never have.
• 8:06
  SPEAKER_04: My Bob Fossey is Anne Reinking, Gwen Verdon.
• 8:10
  SPEAKER_04: And I'm gonna say this, and she's gonna get mad at me, but as Dana Moore is my Bob Fosse, so is Valerie Petiford, and so is Lloyd.
• 8:18
  SPEAKER_04: And I'm gonna say, Dana Moore, when I I'm gonna jump around.
• 8:23
  SPEAKER_04: I've done 11 Broadway shows and I've done many, many film television.
• 8:27
  SPEAKER_04: And when on my second Broadway show is when Bob died.
• 8:32
  SPEAKER_04: I never got to audition for him.
• 8:34
  SPEAKER_04: I was doing Starlight Express and he died.
• 8:36
  SPEAKER_04: And I thought, oh my, I couldn't even believe it that I would never get to dance with him.
• 8:41
  SPEAKER_04: It was devastating for me.
• 8:43
  SPEAKER_04: And so throughout my career, I I just couldn't believe that I had was never going to be able to work with him.
• 8:52
  SPEAKER_04: So I'm gonna, I did many Broadway shows.
• 8:54
  SPEAKER_04: All of a sudden, I'm in a big hit called A Funny Thing Happened on the Way to the Forum.
• 9:00
  SPEAKER_04: And I had done nine encore shows, which is kind of like the Summerstock series in New York, where you put together a show that was not successful.
• 9:10
  SPEAKER_04: And I was doing a funny thing happened in the way to the forum with the incredible choreographer Rob Marshall and the incredible director Jerry Sachs.
• 9:20
  SPEAKER_04: And I couldn't, I was asked to do Chicago and the on course, and I could not do it because I was actually working and and were setting up with Rob Marshall.
• 9:32
  SPEAKER_04: And so I was devastated once again that I was not gonna ever do Fosse.
• 9:37
  SPEAKER_04: And I was very lucky because both Lee Zimmerman and I left a big hit Broadway show to go and do Chicago because Chicago was an encore, the first time an encore show ever moved to Broadway.
• 9:52
  SPEAKER_04: And I didn't know that.
• 9:54
  SPEAKER_04: Yeah, there never was one before.
• 9:56
  SPEAKER_04: And Annie had done it with Rob Marshall in California, and so they had actually put almost that entire cast up to do the Encore show.
• 10:07
  SPEAKER_04: And most encores that I had done, we had only done one dance number, and Annie did all the dance numbers as a concert version.
• 10:14
  SPEAKER_04: And because she had brought almost her entire cast from that LA and the director at that time, Rob couldn't direct it because he directed it in California.
• 10:22
  SPEAKER_04: They had Walter Bobby direct it.
• 10:26
  SPEAKER_04: So they decided that it was such a hit that they were gonna move Chicago to Broadway only for three-month contract.
• 10:34
  SPEAKER_04: And I was like, I have to audition for Anne Rein King.
• 10:37
  SPEAKER_04: So I actually went in for just three months.
• 10:40
  SPEAKER_04: I left a big hit to audition me and Lee Zimmerman.
• 10:44
  SPEAKER_04: I actually had Suzy Meisner, who's Suzanne Meisner, actually teach me some kind of Fossey that she kind of knew.
• 10:52
  SPEAKER_04: She never did Fossey.
• 10:53
  SPEAKER_04: And she helped me with that by audition.
• 10:55
  SPEAKER_04: And I went and I auditioned for Anne Ranking, and I actually booked and left both Lee and I left a big hit show on Broadway for a three-month concert version on for Chicago.
• 11:07
  SPEAKER_04: And of course, of course, Chicago opened.
• 11:09
  SPEAKER_04: It was a big hit, and we ended up having a quite a long run.
• 11:13
  SPEAKER_04: But a year into it, I auditioned for Fosse.
• 11:20
  SPEAKER_04: Yeah.
• 11:20
  SPEAKER_04: And I auditioned with Chet Walker, but my callback was Anne Reinking.
• 11:25
  SPEAKER_04: There was a list of leads.
• 11:27
  SPEAKER_04: And I actually ended up booking Fosse.
• 11:31
  SPEAKER_04: Now this was a dream come true.
• 11:32
  SPEAKER_04: I got to audition for Anne Reinking.
• 11:34
  SPEAKER_04: Now I'm in Chicago working with Anne Reinking.
• 11:37
  SPEAKER_04: Then I get to now work under with some of the greatest Fossey dancers like Dana Moore, who I saw on Broadway, you know, do the frug.
• 11:47
  SPEAKER_04: I was like, I was like so excited.
• 11:50
  SPEAKER_04: And I want to just say that Chicago was actually in the style of Bob Fossey.
• 11:56
  SPEAKER_04: But it wasn't until I went into Fossey that I was like, oh, this is this is it.
• 12:03
  SPEAKER_04: And if it wasn't for Dana Moore, I want to say I would not.
• 12:07
  SPEAKER_04: She was so helpful.
• 12:09
  SPEAKER_04: She helped guide me to figure out how to her and Gwen Verdon and Anne Ryan King helped guided us every day.
• 12:18
  SPEAKER_04: I would watch her, I would learn from her.
• 12:21
  SPEAKER_04: So I'm gonna do, I know that she's you know sitting here going, lamb, but she was my Fosse.
• 12:27
  SPEAKER_04: Anne Ryan King, Gwen Verdon, and Dana Moore were truly my education with Fosse.
• 12:33
  SPEAKER_04: So that's what I wanted to say.
• 12:35
  SPEAKER_04: I've had an amazing long career, but I really honor, I got to work with Annie five times.
• 12:40
  SPEAKER_04: I did two encores with her, Chicago, then I did Fosse with her, and then I did the visit with her.
• 12:47
  SPEAKER_04: And if it wasn't for people like Dana Moore, who was so kind and worked with us and was so open through the process, I would never have experienced the Fosse I did.
• 13:01
  SPEAKER_04: And then this is what's really special when I was asked to train and get um Sam Rockwell and you know Michelle Williams, you know, in dancing shape for Fosse Verden, I became like a dance captain.
• 13:16
  SPEAKER_04: And they brought in the people who actually was in the room with Bob Fossey to create those pieces.
• 13:22
  SPEAKER_04: And I was lucky to be again under the direction and the kindness of Dana Moore.
• 13:30
  SPEAKER_04: And Dana Moore actually did Who's Got the Pain?
• 13:33
  SPEAKER_04: I learned Who's Got the Pain from Dana Moore.
• 13:36
  SPEAKER_04: And then I got to be her dance captain.
• 13:39
  SPEAKER_04: And I actually then went and kind of ran over and over and over, Michelle doing Who's Got the Pain?
• 13:46
  SPEAKER_04: But I got to be in the room with Dana.
• 13:48
  SPEAKER_04: And I have to say, Dana and Valerie Petiford and Lloyd Colebrook is one of they're the kindest people because all what they wanted to do was to hand over choreography that had changed their lives.
• 14:03
  SPEAKER_04: And I just want to say I feel very honored to be on this podcast with Dana Moore.
• 14:09
  SPEAKER_01: I love this so much.
• 14:10
  SPEAKER_01: And I'm so excited to learn from you both.
• 14:13
  SPEAKER_01: And I will say that I can attest to everything that you said, Marianne, when it comes to Dana being such a fantastic educator, because I was lucky enough to work with her this year, actually, in Brazil.
• 14:24
  SPEAKER_01: We were both invited to Brazil to teach at the Jazz World Congress.
• 14:30
  SPEAKER_01: And it was such a dream come true.
• 14:32
  SPEAKER_01: And to just watch her in her elements and to uh hear her in her talk back, it was so inspiring.
• 14:38
  SPEAKER_01: And I'm absolutely thrilled that she's here to join us today.
• 14:41
  SPEAKER_01: So I'd love to introduce Dana Moore to the podcast.
• 14:44
  SPEAKER_01: Welcome, Dana.
• 14:45
  SPEAKER_03: Wow, wow, wow, wow.
• 14:47
  SPEAKER_03: I'm just so wow.
• 14:49
  SPEAKER_03: Thank you.
• 14:50
  SPEAKER_03: Thank you.
• 14:50
  SPEAKER_03: Thank you.
• 14:51
  SPEAKER_03: Thank you.
• 14:52
  SPEAKER_03: Yeah.
• 14:52
  SPEAKER_03: Okay.
• 14:52
  SPEAKER_03: Hi, I'm Dana Moore.
• 14:55
  SPEAKER_03: I'm that lucky brother.
• 14:57
  SPEAKER_03: Just heard all that stuff talked about.
• 14:59
  SPEAKER_03: Very humbled, actually.
• 15:00
  SPEAKER_03: And I'm so honored to be here.
• 15:02
  SPEAKER_03: Thank you so, so much.
• 15:04
  SPEAKER_03: And yeah, Courtney, we had the best time in Brazil and learned so much from each other, even.
• 15:11
  SPEAKER_03: Um, just yeah.
• 15:12
  SPEAKER_03: Anyway, I was so grateful to be a part of that, sharing the the love of Fossi.
• 15:18
  SPEAKER_03: And I'm so happy to be here right now.
• 15:20
  SPEAKER_03: Thank you so much.
• 15:21
  SPEAKER_03: Well, I actually grew up outside of Pittsburgh in a little village town called Sivicley, Pennsylvania.
• 15:28
  SPEAKER_03: And I went to a dancing school there.
• 15:31
  SPEAKER_03: I started actually at two and a half, which is a whole nother story.
• 15:34
  SPEAKER_03: But anyway, and I just have uh it was a time that you know Fossey was on Broadway and Matt Maddox was an influence in jazz.
• 15:46
  SPEAKER_03: And lots, and I'm I'm saying that because I would go to um dance conventions in Pittsburgh, and that's where I my eyes were opened about uh Matt Maddox, who is an incredible uh Jack Hole dancer, and all the influence of of that uh is what Mr.
• 16:06
  SPEAKER_03: Fossey had and and Gwen Burden had.
• 16:09
  SPEAKER_03: And also there was one dance convention, I think I was nine, and I had I was supposed to be in a group that's the younger kids group, but my teacher kind of pushed me forward and and really into the front of this group of you know, like hundreds of dancers students because Gwen Verdon and Peter Jenner were teaching a class.
• 16:34
  SPEAKER_00: Wow.
• 16:34
  SPEAKER_03: And even at nine years old, that's what I knew.
• 16:38
  SPEAKER_03: I didn't know Broadway either, really.
• 16:40
  SPEAKER_03: I just knew from television, you know, Ed Sullivan's show and things.
• 16:45
  SPEAKER_03: And and anytime uh Gwen Verdon was on, my mom, you know, was you guys the my sister also danced, my older sister, but we we always watched anything that we could find, and my mom was so you know supportive of that.
• 17:01
  SPEAKER_03: So anyway, I knew Gwen Verden and I knew that I didn't know Broadway, but I knew I wanted to be Gwen Verden, like you wanted to be N ranking slammy.
• 17:11
  SPEAKER_03: And and when she came and and it's nine years old, even at that point, I knew how I knew jazz because my teacher was an excellent ballet teacher, tap teacher, but she also was an excellent jazz teacher in and at that time, you know, many years ago, the kind of jazz that the bossy world is drawn from or or influenced us with our jazz was being taught that way.
• 17:41
  SPEAKER_03: It was like nowadays, jazz classes have become theater dance.
• 17:46
  SPEAKER_03: But there was some real like classic jazz that came about.
• 17:50
  SPEAKER_03: Anyway, all that to say that we were doing this little combination, Peter was teaching it and and and he was having Gwen demonstrate it with something with the hips, it might might have been like a mambo walk or something.
• 18:02
  SPEAKER_03: I just remember it was small, it was just a little walk, and but the pelvis was part of it.
• 18:08
  SPEAKER_03: And I was doing it, and when I think at some point she turned around and she said, Hugh, you you step forward, and I was like, What?
• 18:19
  SPEAKER_03: That's Glenn Burton, she's actually talking to me.
• 18:22
  SPEAKER_05: Talking to me.
• 18:23
  SPEAKER_03: And she said, Now do that with me.
• 18:26
  SPEAKER_03: And she was basically saying, you know, this little girl gets it.
• 18:30
  SPEAKER_03: And if that's the first time I've ever said that like that, I feel, you know, it's hard to say those things, but you know, I can see you just you just got goosebumps.
• 18:38
  SPEAKER_02: Like I saw it, like you had a little tingle moment.
• 18:40
  SPEAKER_02: That was great.
• 18:42
  SPEAKER_03: It's so true.
• 18:43
  SPEAKER_03: I mean, it's like up at the back of my neck, but anyway, um, so it was just this little moment, but it was a moment that definitely, you know, solidified my journey.
• 18:53
  SPEAKER_03: I wanted to go to New York and I wanted to be on Broadway, even though I wasn't sure what it was, but I very um fortunately got a scholarship to American Ballet Theater right out of my uh senior year of high school.
• 19:06
  SPEAKER_03: So I moved to New York, should I out myself in 1975, the summer of 75, and there I was at American Ballet Theater, like wow, these these people eat a lot of carrots and a lot of coffee and cigarettes.
• 19:25
  SPEAKER_03: Anyway, but but it was a wonderful, you know, foray into New York.
• 19:30
  SPEAKER_03: And I started auditioning for shows.
• 19:33
  SPEAKER_03: I started taking Luigi's classes, Luigi, another wonderful giant legend of uh jazz dance.
• 19:41
  SPEAKER_03: And I remembered auditioning for dancing, the original audition where thousands of scenes, men and women came, and uh I I got a call back and it was so crazy.
• 19:55
  SPEAKER_03: I think I was 19 at the time, and wow, and there he was doing, you know, the the the the uh first scene of uh all that jazz with that sea of people on that stage and he's going up and either, you know, giving someone a note or it's or when he was cutting people, he was going up to them personally and saying, Thank you very much.
• 20:19
  SPEAKER_03: You know, I'm just really that that is that man, that is that humanness and that he he understood profoundly what the what it was to be, not what you you know, to not be to be rejected from an audition, you know.
• 20:36
  SPEAKER_03: He understood that and he also understood that he had to he had to have the people that he could work with, you know, and I know that kind of sounds a little perfunctory just because, well, of course people do, you know, when they're auditioning people, but there was something about he just loved dancers so so much.
• 20:56
  SPEAKER_03: But to say I I got a callback and I I went to that callback with really nothing to lose, you know.
• 21:04
  SPEAKER_03: But I certainly did think I was gonna get it and I didn't, but I did get to sing for him, I get to uh dance for him, and you know, cut to many years later when I did dancing.
• 21:17
  SPEAKER_03: I went into the show, and by that time I had done many Bravo shows by well, I've done several.
• 21:24
  SPEAKER_03: So by that time when I went into the show, I was a more seasoned dancer, and you know, it just why am I telling you all this?
• 21:32
  SPEAKER_03: Because it's we need to know, the people need to know, because it's so good.
• 21:37
  SPEAKER_03: Because well, it's just yeah, that's the one thing I will say about sort of a a spoke from the all of this, but about auditioning, you know, you you you we worked so hard to get to the place where and and we we take all the classes that we need to take.
• 21:55
  SPEAKER_03: We are becoming the artists that we we you know we're diligent about.
• 22:00
  SPEAKER_03: It most of us, and the majority, you know, and if you're going to an audition, it's very easy to look around the room and go, Why to wear this?
• 22:12
  SPEAKER_03: Man, I should have.
• 22:13
  SPEAKER_03: And whoa, her leg goes up and over her head.
• 22:17
  SPEAKER_03: It's so her extension is so great.
• 22:19
  SPEAKER_03: And she's over there singing a high Z, you know, it's all those things that get in there and just all the chatter in the in the rooms and everything.
• 22:29
  SPEAKER_03: So in the classroom, we practice, hopefully, that that we know ourselves as dancers, not what we think they need.
• 22:39
  SPEAKER_03: So that when you go in there, and that's that's a whole nother folk, but but when you walk in that room, you walk in with who you are, not who you're not, because there you're surrounded by all these people that you're like, well, I'm not that, well, I'm not as tall as that or whatever, you know, or I'm not as on just sparky, spunky, you know, I'm I'm just not I'm but I am me, and me is exactly what needs to walk into that room, you know, not what she thinks they need or anything.
• 23:12
  SPEAKER_03: And trusting that you have done the work.
• 23:15
  SPEAKER_03: That was kind of a sidebar there.
• 23:17
  SPEAKER_02: But but it's also still relevant.
• 23:20
  SPEAKER_02: That was 50 years ago.
• 23:21
  SPEAKER_02: Right.
• 23:21
  SPEAKER_02: And it is still exactly the same.
• 23:23
  SPEAKER_02: It is.
• 23:24
  SPEAKER_02: Like I want everything to hear that.
• 23:26
  SPEAKER_02: That like many things have changed in the in the industry, but that has not changed.
• 23:30
  SPEAKER_02: That is the same.
• 23:31
  SPEAKER_02: Exactly.
• 23:31
  SPEAKER_02: Be who you are.
• 23:32
  SPEAKER_02: Who you are is what someone needs.
• 23:34
  SPEAKER_02: Yeah.
• 23:34
  SPEAKER_02: Oh my gosh.
• 23:35
  SPEAKER_02: Well, ladies, this was first of all just the best introduction because we got some of you, we got some of your past, we got some, we got all the things.
• 23:43
  SPEAKER_02: So I just want to say again, thank you for joining us today.
• 23:46
  SPEAKER_02: Well, so let's jump in to some little questions just about your experiences with Bob Fossey and his work and his legacy.
• 23:55
  SPEAKER_02: For listeners, what are some recognizable pieces of his work that are in pop culture and have been that people might know?
• 24:01
  SPEAKER_02: Just to give people an idea of what to look for.
• 24:04
  SPEAKER_03: I could say um certainly the show, I think the most recognizable show is Chicago right now, because it's it's what yeah, I would say it's the most recognizable show.
• 24:15
  SPEAKER_04: But I would say that too.
• 24:16
  SPEAKER_03: But you know, some of the numbers, all that jazz and Razzle Dazzle, and a lot of the numbers from that show, but also uh recognizable numbers, I think.
• 24:27
  SPEAKER_03: Um Big Spender from Sweet Charity, and fortunately, Sweet Charity has that movie that he directed that we recreated, Lammy, um uh Fossi Verden.
• 24:39
  SPEAKER_03: Yeah, that that would definitely definitely be iconic.
• 24:43
  SPEAKER_04: And there's a couple of course cabaret, and one thing that was just recently the film academy uh listed 10 of the top musicals ever filmed, and number one was all that jazz, and number three was was cabaret.
• 24:59
  SPEAKER_04: Wow.
• 24:59
  SPEAKER_04: So you can't.
• 24:59
  SPEAKER_04: Oh, I love that.
• 25:00
  SPEAKER_04: Yeah, I mean, one thing I don't think a lot of people realize, but Bob Fossey was an amazing filmmaker, and he actually invented going inside for the very first time inside the dance pieces, up until Fossey, everything was shot almost in masters.
• 25:19
  SPEAKER_04: But all of a sudden, Bob Fossey would go in and just show a snap of the finger or the turn of the foot.
• 25:24
  SPEAKER_04: He actually was the first choreographer, and because of that, he had to invent actually equipment to do that.
• 25:32
  SPEAKER_04: So Bob Fosse was an amazing filmmaker, besides being an amazing choreographer for Broadway.
• 25:45
  SPEAKER_01: Attention, all dancers eager to continue training during the upcoming holiday break.
• 25:50
  SPEAKER_01: I have an exciting opportunity to share with you.
• 25:52
  SPEAKER_01: Francisco Gala Dance Works New Year's Training Camp.
• 25:56
  SPEAKER_01: That's to take place from December 28th through the 30th, 2024, in Los Angeles, California.
• 26:01
  SPEAKER_01: It's 30th is NAPS.
• 26:04
  SPEAKER_01: Join Francisco Gala and Death Capital for over 30 hours of 20.
• 26:08
  SPEAKER_01: So this is on a second states of post-five, nine, and three, as we transition into the new year.
• 26:15
  SPEAKER_01: This camp welcomes all intermediate and advanced dancers features 2022, with a discount institution available for college students.
• 26:23
  SPEAKER_01: Additionally, all participants will have a chance to observe our scholarships for future Francisco Gella Dance Works Intensives in 2025.
• 26:30
  SPEAKER_01: And for our Making the Impact listeners, we have a special promo code just for you.
• 26:35
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• 26:45
  SPEAKER_01: To learn more about the New Year's Training Dance and all of Francisco Gella's workshops, visit the link in our show notes or visit FranciscogellaDance.com.
• 27:02
  SPEAKER_04: And the other thing that I think is so extraordinary about Bob Fossey is he always approached his work as an actor.
• 27:10
  SPEAKER_04: His work is always from the inside out.
• 27:15
  SPEAKER_04: And I always think it's interesting because I've worked a lot with Jerome Robbins, is that he assisted Jerome Robbins and then became Jerome Robbins' associate and then became Robbins actually choreographer.
• 27:27
  SPEAKER_04: And I think that but why I think they they loved each other, respected each other, and got along so well is they both approach their choreography as internal acting and not just steps.
• 27:40
  SPEAKER_04: And I think that that what and what has happened, and I'm just gonna, and Dana, please jump in.
• 27:46
  SPEAKER_04: But what I feel like what has happened is that there is not a dancer, a choreographer out there that has not been influenced by Bob Fossey.
• 27:54
  SPEAKER_04: I mean, you look at Beyoncé's videos and you look at Michael Jackson and you look at you just start looking at the massive work.
• 28:02
  SPEAKER_04: You look at Andy Blankenbueller.
• 28:04
  SPEAKER_04: I mean, I think I'm gonna just say right now, I'm gonna say it.
• 28:07
  SPEAKER_04: I think Andy Blankenbueller is a genius.
• 28:09
  SPEAKER_04: I think he's one of the best choreographers right now that is dancing.
• 28:13
  SPEAKER_04: He's he is phenomenal.
• 28:16
  SPEAKER_04: And I truly am honored that he's a friend of ours.
• 28:20
  SPEAKER_04: I mean, he's just an amazing and he'll tell you how hit the influence that he had from Jack Cole and from Bob Vossey.
• 28:26
  SPEAKER_04: Bossey has slowly is part of the entire fabric of contemporary dance, of dance today.
• 28:35
  SPEAKER_04: I mean, he touched every choreographer there is.
• 28:39
  SPEAKER_04: Yeah.
• 28:39
  SPEAKER_04: So yeah, there's not a choreographer out there, yeah, that has not been by him.
• 28:44
  SPEAKER_02: I think something interesting that you said that I want listeners to really pay attention to is when you're talking about the film version of Sweet Charity, where he's getting a snap.
• 28:52
  SPEAKER_02: He's getting snapshots of movement.
• 28:54
  SPEAKER_04: Of yeah, cabaret, cabaret.
• 28:57
  SPEAKER_02: The like social media dance, dance for the camera, that is where that comes from.
• 29:02
  SPEAKER_04: Oh, yeah.
• 29:03
  SPEAKER_02: Like if you look at the history now, that is exactly where that comes from.
• 29:06
  SPEAKER_02: That's why we do that now, is because he originated it.
• 29:08
  SPEAKER_02: It wasn't with a phone, but it was with this new film equipment.
• 29:11
  SPEAKER_02: Like, how cool is that?
• 29:13
  SPEAKER_01: I was thinking, like, if he was alive right now, like how he would be taking over TikTok.
• 29:19
  SPEAKER_00: You know, it would be like, you know, genius the stuff he'd be coming up with for our social media age.
• 29:26
  SPEAKER_03: Yeah, it makes you realize so ahead of his time, even.
• 29:30
  SPEAKER_03: Absolutely.
• 29:31
  SPEAKER_03: Wait, let's go in there.
• 29:32
  SPEAKER_03: I mean, uh, Sweet Charity, also the movie, and you know, he just the rich man's fruit, the way that is shot.
• 29:40
  SPEAKER_04: Brilliant.
• 29:41
  SPEAKER_03: Brilliant, yeah.
• 29:42
  SPEAKER_00: Yeah.
• 29:43
  SPEAKER_03: Anyway, but also, you know, he did that, you know, he evolved uh, of course, as a choreographer and as a director in his in his work on on in movies and and uh on stage.
• 29:56
  SPEAKER_03: And certainly, you know, by the last maybe decade or two of his life, it had evolved into what was this cinematography kind of what feel like that.
• 30:10
  SPEAKER_03: Or the way it was staged and the way but more, yeah, the way it was staged, the way it was lit, the way it was, you know, it just got so much more, he got so much more complex with that.
• 30:21
  SPEAKER_03: But it never took away from in if anything, it enhanced where it was coming from.
• 30:28
  SPEAKER_05: Yeah.
• 30:28
  SPEAKER_03: And you know, as Lammy was saying, that you know, he always came from the perspective of the actor or the the the work from inside out and with Robbins.
• 30:40
  SPEAKER_03: And he also did that with us as you know, his cast, his dancer.
• 30:48
  SPEAKER_03: There was this expectation or or just not even expectation, but just like understanding that you are an actor.
• 30:57
  SPEAKER_03: And I I think when I first was working with him, I think I already innately had that, but it was in his work that I just it he just validated for me and and continued to validate it throughout every step, every every world that we were creating, whether it be in, you know, in a in a fandango ballroom or at the uh the aloof is in.
• 31:26
  SPEAKER_04: Yeah.
• 31:27
  SPEAKER_03: Or the kick club.
• 31:29
  SPEAKER_03: But whatever it was, we were all part of the life of it and the life force of it.
• 31:35
  SPEAKER_03: And it just so happened we got to do this amazing stuff with it, but nothing about it was arbitrary, you know.
• 31:44
  SPEAKER_03: Uh it transitions, even the transitions, nothing was arbitrary.
• 31:48
  SPEAKER_03: So it wasn't this little patchwork chunk of tricks and happy, happy townspeople.
• 31:56
  SPEAKER_02: Well, and I think that's important again.
• 31:57
  SPEAKER_02: I'm gonna chime in from like my, I want to drive the point home to our listeners that we haven't even talked about just what Fossi's style looks like on your body, but that's what people recognize.
• 32:08
  SPEAKER_02: They recognize the risks, they recognize the inversion.
• 32:11
  SPEAKER_02: And it's so much more than just that.
• 32:13
  SPEAKER_02: And I think that's what's important when we think about seeing Fosse-inspired pieces at competition or when we're trying to teach our students things like that.
• 32:21
  SPEAKER_02: It is not just that one thing.
• 32:23
  SPEAKER_02: No, it is so much deeper than that, and that's so important that why we have this conversation.
• 32:28
  SPEAKER_02: So y'all can tell us that it's so much deeper than that.
• 32:31
  SPEAKER_04: I think that's very, I'm gonna just talk about two people that I think are equally geniuses as Fosse and Jerome.
• 32:37
  SPEAKER_04: And Jerome Robbins was a chameleon choreographer.
• 32:41
  SPEAKER_04: So when he was doing Fiddle on the Roof, he went and he would wedding crash in Brooklyn and find out how they did the wedding, you know.
• 32:48
  SPEAKER_04: And then when he did King and I, he went to Thailand and actually brought the principal dancers from Thailand to set up Uncle Tom's cabin, which is brilliant.
• 32:58
  SPEAKER_04: But when you and Fosse was the opposite.
• 33:02
  SPEAKER_04: He was a stylized, like um Robbins.
• 33:04
  SPEAKER_04: You couldn't, you could look at something and you wouldn't quite know if it was Robins, but with everything Fosse did, he stamped his style on it.
• 33:13
  SPEAKER_04: He he was a very rare choreographer.
• 33:16
  SPEAKER_04: And his style with every show, you would look at any show and you go, Oh, Bahse choreographed that.
• 33:21
  SPEAKER_04: Oh, that's Fosse's choreography, because it was within his vocabulary.
• 33:25
  SPEAKER_04: He used a very similar vocabulary from early on into the 40s, right up into the, you know, the 70s and until he passed, he was a stylized and it was all acting.
• 33:36
  SPEAKER_04: And they were both geniuses.
• 33:38
  SPEAKER_04: But I think what's interesting is they both approach their work very different from each other, but but always internally.
• 33:44
  SPEAKER_04: I just to me, like when I look at some of his work, like even there is a I think maybe because he we as an audience come to him, come to everybody.
• 33:55
  SPEAKER_04: We were part of it.
• 33:57
  SPEAKER_03: And there is that thing that he would, you know, say often, and I'm sure it's it's in books and things and interviews, where he would say, Let them come to you.
• 34:07
  SPEAKER_03: Yeah, let you yeah, don't go to them, don't go for them, let them come to you.
• 34:11
  SPEAKER_03: So it's not like he was void of what the audience, you know, he didn't care about what his work was going to do for the audience, but he definitely did not want you to be out there, even even in hot honey rag and and nowadays, it's that world that the those two gals who finally got together, even though they hated each other, they were enemies, and their dream has come true because both of them were kind of wanted to be in the big time, you know, and they never did.
• 34:45
  SPEAKER_03: And there they are up there.
• 34:48
  SPEAKER_04: Like in Hot Honey Reg, I mean, they actually throw roses right into the audience, and the audience catches them, and that the audience becomes part of the entire show.
• 34:57
  SPEAKER_04: The actual audience, we get it's almost like we become part of the story.
• 35:02
  SPEAKER_04: We're moving the story forward right along with the actors, and and that to me, maybe I mean, you can jump in, Dana, but that also came from him being in burlesque houses, I believe, that Gwen said that to us once.
• 35:16
  SPEAKER_04: Unlike Robbins, who really came from the ballet world where that fourth wall is hardly ever broken.
• 35:22
  SPEAKER_04: I think that there was this kind of a beautiful thing where the the audience felt like they were part of the show sometime.
• 35:30
  SPEAKER_04: And I think that that like what Dana said is you were never, we were never told to work for the audience, but the audience did feel like they came, there was an intimacy.
• 35:39
  SPEAKER_04: And I agree with you about that.
• 35:41
  SPEAKER_04: And and his style is so stunning.
• 35:43
  SPEAKER_04: Of course, his style changes, like every choreographer's style changed through their entire lives.
• 35:48
  SPEAKER_04: Yeah, and I'm sure if he was alive today, that he completely re-choreographed Chicago than it is now, you know.
• 35:54
  SPEAKER_04: For sure.
• 35:55
  SPEAKER_04: Yeah, and and but you know, and Robbins did the same, but it was interesting that how you he just had such an amazing style that uh that every show had this his vocabulary that was so gorgeous.
• 36:08
  SPEAKER_04: And I feel like not very many people have ever had a career like that that I can think of.
• 36:14
  SPEAKER_04: I know.
• 36:14
  SPEAKER_03: So I mean it really was groundbreaking when he came on the scene.
• 36:19
  SPEAKER_03: And even the very first thing that he was allowed to choreograph, the the number in the movie Kiss Me Kate.
• 36:26
  SPEAKER_03: Yeah, the one you did.
• 36:28
  SPEAKER_04: From this moment on, yeah.
• 36:29
  SPEAKER_04: From this moment on.
• 36:30
  SPEAKER_04: It was so genius.
• 36:32
  SPEAKER_03: It was, and it was so different, yeah, than anything we had seen uh up until then.
• 36:38
  SPEAKER_03: Yeah, and and then he got his breaks and uh moved on and did, you know, whatever he did.
• 36:45
  SPEAKER_03: What did he do?
• 36:46
  SPEAKER_03: Yeah, game.
• 36:48
  SPEAKER_03: He did everything.
• 36:49
  SPEAKER_03: I mean, when you think about it, the guy did everything.
• 36:51
  SPEAKER_03: He did everything.
• 36:53
  SPEAKER_03: But but as his choreography evolved, and you know, oftentimes that he and he'll even he even said it that it it was from what he he considered his flaws, you know, yeah, his uh kind of hunched over or shrugged over shoulders and his, you know, tucked pelvis and his bow legs and his uh pigeon toed, I guess.
• 37:17
  SPEAKER_03: Uh he just so much of it, and also the hats and the gloves because he didn't like his hands and he and he was losing his hair, and that was all.
• 37:26
  SPEAKER_03: But every part of that, every little bit of that, the shoulders and the and the pelvis and the pigeon toed and the hat, every bit of it was exaggerated and turned into this style, amazing style that was so cool for you.
• 37:45
  SPEAKER_03: Yeah, yeah, and it's not just from his flaws.
• 37:47
  SPEAKER_03: I mean, he definitely had uh, you know, he had a a wealth of experiences of of life.
• 37:53
  SPEAKER_03: And that's the thing about his work, is so, you know, well, just life.
• 37:58
  SPEAKER_04: No, but you're right, Dana.
• 38:00
  SPEAKER_04: I mean, it's just like it, it's every all of this movement came from such a deep emotional and physical place.
• 38:08
  SPEAKER_04: I mean, he was he was one of the best dancers ever.
• 38:11
  SPEAKER_04: I mean, people I mean, he did 15 barrel roll, you know, and and what was that?
• 38:16
  SPEAKER_04: My uh Alley dance.
• 38:18
  SPEAKER_04: I mean, who could do that?
• 38:19
  SPEAKER_04: Yeah, my sister.
• 38:21
  SPEAKER_04: One of the best dancers that ever danced.
• 38:23
  SPEAKER_04: Beautiful dancer.
• 38:24
  SPEAKER_03: I mean that he was a star dancer, yes, gorgeous, gorgeous, ballet trained, you know, kind of the kind of stuff that he did before he worked on Broadway with the what did they call them, the nightclub acts, where it was kind of ballroom, not really ballroom, but what do they call those acts where we saw those tapes?
• 38:48
  SPEAKER_04: I mean, he was phenomenal.
• 38:50
  SPEAKER_04: Like, like he remembered Ana where he would do that piece where in a nightclub act where he would like do aerials off the yes, all like steps and and he yes, he made dancers today look like that they they're they have no energy.
• 39:06
  SPEAKER_04: I mean, like truly, truly.
• 39:10
  SPEAKER_03: And and he never stopped training either.
• 39:13
  SPEAKER_03: And and in fact, he never stopped training as an actor as well.
• 39:17
  SPEAKER_03: He went to Sanford Meisner and uh, you know, the neighborhood playhouse, yeah, and he studied with Sandy Meisner, and and there is an interview with him.
• 39:28
  SPEAKER_03: He's sitting on his couch in his apartment on 58th Street.
• 39:32
  SPEAKER_03: This interview, he says, you know, he when he realized that he wanted to be a director and he was directing his dancers, even as a choreographer, that he needed to know what the process was, you know, for actors.
• 39:46
  SPEAKER_03: And he learned a great deal from the neighborhood playhouse and that kind of Meisner technique on how to work with actors, but also how to work with his dancers.
• 39:57
  SPEAKER_03: And and that's so it's so clear in the work that I remember.
• 40:03
  SPEAKER_03: And um, yeah, it's all that it's all that whole thing where it's like the whole uh being is dancing, you know.
• 40:12
  SPEAKER_01: Well, we talk, I mean, we we say it all the time when we're when we talk about dance now, that sometimes what's missing is that intention in behind the movement and that storytelling.
• 40:23
  SPEAKER_01: And it sounds like that Bob would do he would bring the intention right to the forefront, and that was a priority in what he was creating, instead of like you said, Marianne, like leading just just throwing steps together and this is my style, and we're gonna do this and we're gonna do that, and we're gonna pigeon toe, and we're gonna shrug, and we're and this is a style.
• 40:43
  SPEAKER_01: It's like, okay, we can that we can sprinkle the style on, but what's the intention?
• 40:47
  SPEAKER_01: What what what story?
• 40:48
  SPEAKER_01: Who are we?
• 40:49
  SPEAKER_01: Yeah, where are we in this space?
• 40:51
  SPEAKER_01: Like, and it doesn't matter if it's theater inspired or film or anything, it can be any piece of art and dance.
• 40:59
  SPEAKER_01: That intention needs to be clear, and sometimes that I think is what's missing, oftentimes, and not just in competitive dance, you know, sometimes when you go see a Broadway show, sometimes you're like, I don't know if everyone's on the same page here.
• 41:11
  SPEAKER_03: Yeah, absolutely.
• 41:12
  SPEAKER_03: And I I do agree with that.
• 41:14
  SPEAKER_03: I mean, I think one thing that makes it makes his work so different and bec and something that you know newer choreographers and and dancers can use is the power of silence or the power of no movement, even though the life is still there, but you may have four counts, just four counts.
• 41:37
  SPEAKER_03: Yep, but you are still riveted.
• 41:40
  SPEAKER_03: And it's not about if I kick and I pirouette and I get down and I do this, you know, all the flashy stuff.
• 41:47
  SPEAKER_03: And that other thing about it's not to, it's not to the audience, let them come to you.
• 41:54
  SPEAKER_04: I also think that he demanded to be honest as an actor.
• 41:57
  SPEAKER_04: I mean, one thing in our generation, we all went to acting.
• 42:00
  SPEAKER_04: I mean, uh, Dana went to acting classes, I went to acting classes, I went to the, I was a uh actor studio actor, I was, I did Meisner.
• 42:08
  SPEAKER_04: We all acted.
• 42:09
  SPEAKER_04: And the one thing that was demanded from Bob Fossey's work, at least I feel, is as a performer, it's your job to be as honest as you can in someone else's words, and someone else's lyrics, and in someone else's steps.
• 42:23
  SPEAKER_04: And what is very difficult with Fossey is that he had such an amazing style, but you still, as an actor, had to pull yourself through his steps as honest as you can in a situation and as was not quickly uh executed.
• 42:41
  SPEAKER_04: Executed.
• 42:42
  SPEAKER_04: It was like Shakespeare, you know.
• 42:45
  SPEAKER_03: It was like Shakespeare.
• 42:46
  SPEAKER_03: And on top of it, he was true.
• 42:50
  SPEAKER_03: He was a, you know, just a taskmaster as far as you know, the one thing I would love to get out in this podcast is that rehearsal, rehearsal, rehearsal.
• 43:02
  SPEAKER_03: I agree is so valuable because it you can you can practice, you know, once a week or even rehearse uh every day, but if you're not rehearsing, uh to live it out so fully that by the time you've done it 150 times, you've moved that much further into who this character is.
• 43:23
  SPEAKER_03: Yeah.
• 43:24
  SPEAKER_03: Yeah.
• 43:24
  SPEAKER_03: As a dancer.
• 43:26
  SPEAKER_03: And it it's just it's you can see the difference of of the work.
• 43:31
  SPEAKER_03: I mean, if you like Lammy was saying about Shakespeare, you've got to rehearse that to get into your, you know.
• 43:39
  SPEAKER_05: To be as honest as yeah, exactly.
• 43:42
  SPEAKER_03: And to be so you're rehearsing it, yes, to execute it as perfectly, not perfectly, it's not the right word, but well, as honest, but also like do what he's asking you to do.
• 43:53
  SPEAKER_03: Technically proficient.
• 43:55
  SPEAKER_03: But yeah, there we go.
• 43:56
  SPEAKER_03: And so really wanting to dance the work.
• 44:00
  SPEAKER_03: The way he needed it, not not that shoulder, but maybe that shoulder, you know, just those specifics.
• 44:06
  SPEAKER_03: And you would do it over and over and over again because nope, you didn't get that shoulder right.
• 44:12
  SPEAKER_03: You know, I mean, there'd be more things, I'm sure, but it was that getting that right that helped you progress right in the life of it, you know, and and in you as a performer and the work that you know, the craft of doing it comes in rehearsing it.
• 44:33
  SPEAKER_04: I also think when we did Fosse, I know that Dana's gonna agree, because when you do something like Fossey, and you're doing several of his numbers in a row, one right after the other after the other.
• 44:43
  SPEAKER_04: The one thing that is so wonderful and also challenging is you never have a perfect night.
• 44:50
  SPEAKER_04: No, there's no such thing.
• 44:52
  SPEAKER_04: You are worth, I mean, you might for like turn around and go, God, that was a I did really that last phrase.
• 44:57
  SPEAKER_04: I did the best I've ever done.
• 44:59
  SPEAKER_04: But then the next phrase you mess up.
• 45:01
  SPEAKER_04: I mean, you can't, you cannot.
• 45:03
  SPEAKER_04: It's so challenging.
• 45:04
  SPEAKER_04: Or in your own fabulous way.
• 45:07
  SPEAKER_04: Yeah, it is and that's why I love Bossies because you are never not challenged.
• 45:14
  SPEAKER_03: Yeah.
• 45:14
  SPEAKER_03: And also he would say that, you know, it's I I never feel like it's it's enough.
• 45:20
  SPEAKER_03: Like he would feel that uh, you know, if he saw his dancers executing something and he knew that they were doing their absolute best to the best of their ability, what he wanted, he would take it on himself and say, I'm sorry, I'm sorry, I'm not, you know, I have failed you because I haven't really given it the way I see it in my head or whatever, something like that.
• 45:43
  SPEAKER_03: You know, I mean, just it was such a collaboration, I have to say, working with him.
• 45:49
  SPEAKER_00: Wow.
• 45:49
  SPEAKER_03: And Gwen, of course, definitely and Gwen.
• 45:53
  SPEAKER_03: My God.
• 45:54
  SPEAKER_00: I love that.
• 45:55
  SPEAKER_03: We've said anything that you need to hear.
• 45:58
  SPEAKER_00: I love, I love it.
• 45:59
  SPEAKER_01: We're getting we're getting so much inside scoop, we're getting history spilled out at us, and I'm here for it.
• 46:05
  SPEAKER_01: All right.
• 46:05
  SPEAKER_01: And I do, we are nearing our end of our chat because it goes by so fast, but I feel like there's an important aspect of this conversation that we want to touch on, and that is when it comes to, and we kind of briefly talked about it before we started recording, but it kind of comes down to who has the rights and and what are the rules about using fossy material or fossy choreography within choreography?
• 46:31
  SPEAKER_01: Are you allowed to use it without permission?
• 46:34
  SPEAKER_01: Or is can it be an educational experience for dancers in studios, or do they have to where can they receive this type of knowledge and hands-on Fawcy choreography in an educational setting?
• 46:49
  SPEAKER_01: Because I think a lot of people think that they can just go online and learn it and teach it and yeah, and that you know, we know that this is an issue right now.
• 46:58
  SPEAKER_03: And that's absolutely one of the main reasons that Nicole started the legacy.
• 47:03
  SPEAKER_02: Tell us very quickly who Nicole is for everybody who doesn't know.
• 47:06
  SPEAKER_03: I'm sorry, Nicole Fossey, who is the daughter of uh Bob Fosse and Gwen Verden, and she is the she has the estate of their work, and she created this the legacy estate for that very reason because so many people would pull something off of online or or even from a movie or whatever and say that they were doing Fosse, and that's not it's just not it, it's not right.
• 47:33
  SPEAKER_03: So, I mean it it would not be executed properly.
• 47:36
  SPEAKER_03: So she has done her best to protect the material by you cannot do Fosse rep unless you have gotten permission, and it most likely has to be taught to you by someone who is one of the you know sanctioned teachers.
• 47:54
  SPEAKER_03: You can do, I know there's the looseness in it, and I remember when she called me about uh when Wayne Salento put Christina Applegate into Sweet Charity of several years ago now, but there were certain pieces of sweet charity that were direct steals from the original choreography, but most of it was his take on it.
• 48:18
  SPEAKER_03: And she just one particular section was in the rich man's fruit, and she said, Would you say that's directly uh taken?
• 48:26
  SPEAKER_03: And and I think her point being, and I said, Yes, that that looks directly taken from, you know, this chunk of maybe I don't know, six, eight.
• 48:34
  SPEAKER_03: And I think the thing with her, and I know when she's I've talked to her about you know putting teaching it in my in my classes, show you cannot do the entire number for sure.
• 48:47
  SPEAKER_03: And you cannot really, if it's if it's a couple of phrases that, you know, his work, I don't even know if that really goes.
• 48:55
  SPEAKER_03: I think that just is if if we teach it, Lammy, you know, or teaching a class.
• 49:00
  SPEAKER_04: Yeah.
• 49:01
  SPEAKER_03: Yeah.
• 49:02
  SPEAKER_04: I mean, one thing that I think that we said earlier is that this is very valuable work, just like Balanchine's work is very valuable, and just like Alvin Ailey's work is very valuable, and just like Joffrey's work is very valuable, and Paul Taylor, Fossey deserves to be in that exact category with Graham and everyone else.
• 49:23
  SPEAKER_04: So yeah, you it should not be taught unless it has approval.
• 49:28
  SPEAKER_04: You cannot go right now into your small studio and put together Midsummer Night's Dream, Balanchine's, you know, yeah, ballet without permission.
• 49:38
  SPEAKER_04: It should be the same thing with Bob Foxy.
• 49:40
  SPEAKER_03: And the reasoning, too, another reasoning is that those of us that worked with him, it's the way we worked, the way he worked.
• 49:49
  SPEAKER_03: And you can, you know, someone can do a really good job of teaching the steps of a number, but if there is not uh, and I'm not just saying about the acting and the inner inner voice or anything, really just the way you're supposed to you, the way you get to a move and the transitions again.
• 50:09
  SPEAKER_03: I'm gonna say that again because that I realized when I'm seeing some of this stuff, is that well, you know, there it's just the way he taught it and the way, and so that's what we aspire to do as we teach it.
• 50:28
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• 50:30
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• 50:44
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• 50:50
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• 51:00
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• 51:30
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• 51:34
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• 51:35
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• 52:01
  SPEAKER_02: How does it actually work?
• 52:02
  SPEAKER_03: Yeah, she is doing uh some of that now, finally getting, she's been wanting to do it so much, getting out to colleges and getting to different schools and art schools or whatever.
• 52:15
  SPEAKER_03: But what we do here in New York City, and there's been a little bit in LA, is that we have masterclasses.
• 52:22
  SPEAKER_02: And like And this is truly using the word master class as a real actual, like that's legitimate.
• 52:28
  SPEAKER_02: That's legit, right?
• 52:30
  SPEAKER_02: We have conversations like this all the time.
• 52:31
  SPEAKER_02: Like, what's a master class?
• 52:32
  SPEAKER_02: Who's a master teacher?
• 52:33
  SPEAKER_02: These people, yeah, master class, master teacher.
• 52:35
  SPEAKER_02: Yes, yes.
• 52:36
  SPEAKER_03: We just had, or in fact, today is another day of it because it's a holiday weekend.
• 52:41
  SPEAKER_03: That we had I taught on Saturday and there was Sunday, a couple of people, and I taught money from the cowboy movie.
• 52:50
  SPEAKER_03: Fun.
• 52:53
  SPEAKER_01: Wish I would have been there.
• 52:54
  SPEAKER_01: Darn.
• 52:55
  SPEAKER_03: Yeah, but so that's one way is that uh we do these weekends, and she has a a really uh well-crafted summer session that happens.
• 53:07
  SPEAKER_04: And you can also buy rights, like I put Elizabeth Parkinson and myself put sing sing with North Car two at North Carolina School of the Arts, and they bought the rights, and and Nicole said, Yes, you two, since you danced on a bravi, you can put it together, and we put it together down there, and it was a huge, I have to say, and there was every other choreographer there.
• 53:29
  SPEAKER_04: There was Graham had a number, and um, you know, just huge, huge numbers for this evening, and sing sing just took down the house.
• 53:37
  SPEAKER_04: There you go.
• 53:38
  SPEAKER_04: Bob Fossi took the house down.
• 53:41
  SPEAKER_01: If if a if someone wants to like rights, they've paid for the right, like they're licensing out that that material has to go through Nicole or the legacy.
• 53:53
  SPEAKER_01: Yeah, but do they also have to like is it a package deal where if you want to do sing, sing, sing, original choreography, you buy the rights.
• 54:01
  SPEAKER_01: That do you also have to then hire a legacy teacher to set it, or can someone buy the rights and then just learn it and then teach it to their dancers?
• 54:10
  SPEAKER_03: No, it has to be uh a function teacher, yeah.
• 54:14
  SPEAKER_01: I love that because, like, we've talked about it comes down to the style, you've studied the technique your entire life.
• 54:19
  SPEAKER_01: You have the experience, you've lived it, you've danced it.
• 54:22
  SPEAKER_01: Like you are the people to be able to deliver that properly.
• 54:25
  SPEAKER_01: And, you know, I've I've been in scenarios where I'm doing Broadway shows, learning original Dream Robbins rep from the people who danced it.
• 54:33
  SPEAKER_01: And then I've also been in scenarios where I'm learning original choreography from that someone just taught themselves and they got the rights and they're allowed to do it because they bought it.
• 54:43
  SPEAKER_01: But it's not the same, it is not the same experience at all.
• 54:47
  SPEAKER_01: And it's it's so educational to learn directly from the people who danced it, who learned it, who know the style inside and out.
• 54:54
  SPEAKER_01: Yeah.
• 54:54
  SPEAKER_03: And I appreciate that that's what Nicole is is doing because it's just not, it's just not, it's it's not honoring his legacy whatsoever.
• 55:05
  SPEAKER_03: Yeah.
• 55:06
  SPEAKER_03: Right.
• 55:06
  SPEAKER_03: Yeah.
• 55:07
  SPEAKER_04: And I think that because I've been a judge for 20 years with Showstopper, and I've been out there, and you can see when you see a number that they've actually brought someone in to do something and when they have oh, yeah, you can see it right away.
• 55:22
  SPEAKER_04: You're like, oh, I wonder who oh, Lloyd must have put this together or something, or Dana Moore.
• 55:27
  SPEAKER_04: And then there's a moment where you're like, whoa, this is nothing.
• 55:29
  SPEAKER_04: This is they're say calling it bossy, and there's no bossy here.
• 55:33
  SPEAKER_04: So it is interesting to see.
• 55:34
  SPEAKER_04: You can see the difference.
• 55:36
  SPEAKER_04: Wow.
• 55:36
  SPEAKER_02: So, what would you suggest?
• 55:37
  SPEAKER_02: And this is maybe like a last last question, and then we can kind of wrap up for studios who want to expose their dancers to these, these, this amazing work, want to do it in the right way, but either don't have the resources, or you know, and I don't know how the yeses and the no's come through with Nicole and and the business.
• 55:57
  SPEAKER_02: You know, I'm sure I'm sure there's instances where people ask for it and they get told no.
• 56:01
  SPEAKER_02: So what how else, like what are what how are we not gonna gatekeep all this information and how do we get it out to the masses?
• 56:07
  SPEAKER_02: Is this a, you know, read a book, watch a movie, or what can you suggest?
• 56:11
  SPEAKER_01: And like for like studio dancers, like younger generation, yeah, before they get to college, you know, can can this be accessible to them and smaller town studios that want to give this knowledge to their dancers.
• 56:23
  SPEAKER_03: You know what?
• 56:24
  SPEAKER_03: My gut answer to that specific question is the and even the colleges, but that the training has to be back to original jazz and and mathematics.
• 56:39
  SPEAKER_03: I keep mentioning mathematics is really Jack Cole is the like the the the guru, and I mean the father of American Jazz Dance, and then of course Gwen worked with him and assisted him, and you know, she was his uh high priestess of his of his work, and then she came into Broadway and and the movies and met Bob and all that.
• 57:05
  SPEAKER_03: So his work is so influenced by first of all his own experience, but certainly with Gwen's experience with Jack Cole.
• 57:13
  SPEAKER_03: Anyway, my point being that learning, like having uh jazz, having the training that is is classical ballet training.
• 57:23
  SPEAKER_03: I'm sorry, you just have to do it.
• 57:24
  SPEAKER_03: You cannot do his work if you don't have that.
• 57:28
  SPEAKER_03: But also the original jazz, like classic jazz that has, you know, actual classic isolations in it and grounded dancing that isn't what jazz is right now today.
• 57:41
  SPEAKER_03: I think that's how you get the these young dancers.
• 57:46
  SPEAKER_03: I mean, to have someone come in, I guess my point is that you have someone come in and and they don't have the background to have someone come in and teach them any posse work.
• 57:58
  SPEAKER_03: It just Yeah, the foundation isn't there.
• 58:01
  SPEAKER_03: You know, it just won't be it won't be there.
• 58:04
  SPEAKER_03: So then um, you know, said wonderful master teacher leaves, and what they have is yeah, and I I totally agree with you, Dana, 100%.
• 58:14
  SPEAKER_04: I mean, that's what's missing, mainly the isolations and the you know, um to going across the floor, but I'm gonna say also is that studios can contact Nicole at the Fosse Legacy, and while talking, they will send a teacher with the right number for them.
• 58:34
  SPEAKER_04: If they're extremely talented ballet studio with a lot of technique, then they get to do some of the harder pieces.
• 58:41
  SPEAKER_04: But there is pieces that they can actually bring a teacher to that kids that are not, you know, extreme advanced can dance.
• 58:51
  SPEAKER_04: And that was one thing that surprised me when last time I talked to Nicole, because Nicole was like, I'm I'm part, I'm one of the producers of Dancers for Harris.
• 59:00
  SPEAKER_04: And we did these, we're we did rap masterclasses, and we also had um Fosse Verdon um was so kind this weekend to raffle off a dancer that could dance for the entire day for a raffle to raise money, right?
• 59:17
  SPEAKER_04: And she said, I want it to do on Saturday, because Saturday with with Stephanie Pope and Mamie Quillen, if you're not the best dancer on Broadway, you can dance this.
• 59:28
  SPEAKER_04: It it the those that she knew what number was right for someone who was coming in, kind of beginning with Fossey.
• 59:37
  SPEAKER_04: She would not throw somebody under the bus and all of a sudden sing, sing, sing, right?
• 59:43
  SPEAKER_04: No, she knows the work so well that she knows exactly what would be best for an intermediate dancer to an advanced dancer.
• 59:52
  SPEAKER_04: So that's something that all studios can kind of like adjust to.
• 59:55
  SPEAKER_04: I'm sorry, that's great.
• 59:56
  SPEAKER_03: No, absolutely.
• 59:58
  SPEAKER_03: I I hear you on that.
• 59:59
  SPEAKER_03: Yeah.
• 59:59
  unknown: Yeah.
• 1:00:00
  SPEAKER_01: Yeah.
• 1:00:00
  SPEAKER_01: I think it's I think it's important to know the foundation is necessary to be able to execute those.
• 1:00:06
  SPEAKER_01: You know, we talk about that like all the time on the podcast, you know, how important your technical training is, how important your weekly training is, how important your ballet training is for a variety of styles.
• 1:00:16
  SPEAKER_01: Even tap is very heavily influenced within the Fosse genre.
• 1:00:20
  SPEAKER_01: And you have to understand jazz, dance across the board to even t touch Fosse.
• 1:00:26
  SPEAKER_01: So if you if you haven't got, and I I personally feel, and I could be wrong, but like Fossey feels like a mature style of dance.
• 1:00:34
  SPEAKER_01: I'm not saying you can't do it when you're young, but you have there's just a type of of when you're more mature, when you're more adult, when you've lived the life experiences that that pulls through how you interpret the movement.
• 1:00:48
  SPEAKER_01: And I I think that you know, I like 15 and over, I think like is a good like let's start learning some Flossi at that point.
• 1:00:56
  SPEAKER_01: But should 10-year-olds be learning Flossi?
• 1:00:59
  SPEAKER_01: They can watch the movies, they can be inspired, like critical version.
• 1:01:03
  SPEAKER_01: Some of them, some of them, yes.
• 1:01:05
  SPEAKER_04: And like but like some of those I think educating them unbelievable, though I have to say.
• 1:01:09
  SPEAKER_04: The third R right now.
• 1:01:12
  SPEAKER_04: I sat there, I I, you know, because I'm at the Grand Prix, and some of those 13-year-olds, I'm like, okay, where are they gonna go from here?
• 1:01:19
  SPEAKER_04: Right.
• 1:01:19
  SPEAKER_04: But the one one thing I do want to say, which I I know Dana's gonna absolutely support this also, is I feel for dancers right now when your your classes are$25 to$30 a class.
• 1:01:33
  SPEAKER_04: And the training right now is so difficult.
• 1:01:36
  SPEAKER_04: And I'm trying to, that's one thing.
• 1:01:38
  SPEAKER_04: We had a big, I had a big talk with a bunch of choreographers and teachers the other day, thinking, how we, how can dancers afford training?
• 1:01:45
  SPEAKER_04: And I have to say, training is everything, ballet is everything.
• 1:01:49
  SPEAKER_04: Early jazz, like Dana said, is everything.
• 1:01:52
  SPEAKER_04: You want to be a professional dancer, you have to have this, these training ability.
• 1:01:58
  SPEAKER_04: You have to learn isolations, you have to do this.
• 1:02:01
  SPEAKER_04: And what I get concerned in right now, mainly in New York, I'm going to Seattle.
• 1:02:06
  SPEAKER_04: One of the biggest studios there is closing.
• 1:02:08
  SPEAKER_04: Studios are struggling right now, and it's breaking my heart.
• 1:02:11
  SPEAKER_04: It's just, I don't, and I don't know how this, I mean, how they're going to fix the structure of it.
• 1:02:17
  SPEAKER_04: But I know that when Dane and I were training, we would take two to three classes a day.
• 1:02:22
  SPEAKER_04: And now you could not afford that.
• 1:02:24
  SPEAKER_04: No.
• 1:02:25
  SPEAKER_04: So I, you know, it's a tough.
• 1:02:26
  SPEAKER_04: It's not as accessible.
• 1:02:28
  SPEAKER_04: No, so I would say wait until you're 15, try to go to Fossi Burden workshop master classes.
• 1:02:34
  SPEAKER_04: Yeah.
• 1:02:34
  SPEAKER_04: And and try to get those intense summer courses done because it's going to be impossible for you to train throughout the year for some of these younger students.
• 1:02:45
  SPEAKER_04: Yeah.
• 1:02:46
  SPEAKER_01: Absolutely.
• 1:02:47
  SPEAKER_01: I I'm with you.
• 1:02:48
  SPEAKER_01: Well, y'all, we talked to the talk and we I learned so much, and it is so inspiring to hear from you you both and all of your experiences in this dance world and your careers.
• 1:02:59
  SPEAKER_01: Wow.
• 1:03:00
  SPEAKER_01: I think this was, yes, you're welcome.
• 1:03:02
  SPEAKER_01: And this is ex this is just so educational.
• 1:03:05
  SPEAKER_01: And I hope that everyone who's listening runs and goes and watches some of these iconic movies that we to that we discussed, pull up some fossy clips and educate your students with all of this amazing dance work that he's been doing and and Gwen Verdon and and Ann and all of the we will have lots of links happening in our show notes for for listeners, as well as in our Facebook group.
• 1:03:27
  SPEAKER_01: We'll be posting some videos for education.
• 1:03:30
  SPEAKER_01: So thank you to our guests, Dana and Marianne, for joining us on this video.
• 1:03:34
  SPEAKER_01: Thank you, Marianne.
• 1:03:35
  SPEAKER_04: And listen, when you're there and go to steps and take from Dana Moore.
• 1:03:40
  SPEAKER_04: Yes.
• 1:03:41
  SPEAKER_04: Go take Dana's class at Steps on Broadway.
• 1:03:44
  SPEAKER_02: Yes.
• 1:03:45
  SPEAKER_02: And IDA competitors, you might see Marianne on your panel this year.
• 1:03:49
  SPEAKER_02: So be on the lookout.
• 1:03:51
  SPEAKER_02: And I can't wait to hear some of your critiques.
• 1:03:53
  SPEAKER_02: Yeah.
• 1:03:54
  SPEAKER_03: Thank you, Courtney.
• 1:03:55
  SPEAKER_03: Thank you, Leslie.
• 1:03:56
  SPEAKER_03: You're so welcome.
• 1:03:57
  SPEAKER_03: You're welcome.
• 1:03:57
  SPEAKER_01: Final thing for us is we just have one quick final thought.
• 1:04:02
  SPEAKER_01: It can be brief.
• 1:04:02
  SPEAKER_01: It doesn't have to be long.
• 1:04:03
  SPEAKER_01: It can be whatever you want to say.
• 1:04:05
  SPEAKER_01: Just a final thought on the chat.
• 1:04:06
  SPEAKER_01: You can talk to whoever you want to.
• 1:04:08
  SPEAKER_01: So if you want to talk to dancers out there, if you want to talk to teachers and choreographers out there, if you want to talk to the next generation of dance, whoever you want to speak to, final thoughts about our topic, Fosse, today.
• 1:04:21
  SPEAKER_03: Dancers just keep working and and keep uh stepping into it.
• 1:04:28
  SPEAKER_03: Nothing tentative about it.
• 1:04:29
  SPEAKER_03: I'm talking about when you're on the floor and doing choreography or but also just keep uh be uh there's a humility that is the only way we can learn.
• 1:04:39
  SPEAKER_03: And you can't if you go into a class and you already know it, I know this.
• 1:04:44
  SPEAKER_03: I'm just gonna do this.
• 1:04:45
  SPEAKER_03: That's good enough.
• 1:04:46
  SPEAKER_03: I get that.
• 1:04:46
  SPEAKER_03: And I'm only I'm the only reason I'm saying that is because I do get that with with students.
• 1:04:51
  SPEAKER_03: I it's that I don't know, it's just uh it's a it's a I encourage you to say maybe I don't know it, you know, even though you might have trained in ballet for 18 years, but take another ballet class and you're gonna learn something else.
• 1:05:09
  SPEAKER_03: So I guess I'm just saying, um do the work, trust yourself, and you know, you're there because you have to be.
• 1:05:18
  SPEAKER_03: Yay!
• 1:05:19
  SPEAKER_04: And I'm also gonna I'm also gonna talk to the younger dancer.
• 1:05:23
  SPEAKER_04: And one thing I I I like to bring up is I have I'm hyperactive and I also have dyslexia.
• 1:05:30
  SPEAKER_04: I did not learn to read until I was a junior in high school, and I did not know my right or my left.
• 1:05:35
  SPEAKER_04: And it's interesting nowadays, as a young dancer, we think that we have to be perfect.
• 1:05:41
  SPEAKER_04: And all these things that are uh like anxiety and all these feelings that we have make you the artist that you were supposed to be.
• 1:05:50
  SPEAKER_04: If I was not hyperactive, I would never be the person I am right now and never have my career.
• 1:05:56
  SPEAKER_04: And if I didn't, if I did was not dyslexic, I would not.
• 1:06:00
  SPEAKER_04: Be an even dancer.
• 1:06:01
  SPEAKER_04: I can turn the same right as the same left.
• 1:06:04
  SPEAKER_04: So instead of thinking as we get labeled as oh, those are disabilities or those are weaknesses.
• 1:06:11
  SPEAKER_04: Remember, as a dancer, as an artist, we all dance, we are all artists, and you're allowed to make those gifts, not disabilities.
• 1:06:21
  SPEAKER_04: And I have to tell you, that was so important for me to realize that all these things that I thought was wrong with me were a gift.
• 1:06:28
  SPEAKER_04: And I'm gonna say this: I have a lot of students that have a lot of anxiety when they dance.
• 1:06:34
  SPEAKER_04: Use that anxiety.
• 1:06:36
  SPEAKER_04: Live where you are honestly when you go into the classroom.
• 1:06:39
  SPEAKER_04: If you're scared, be scared.
• 1:06:41
  SPEAKER_04: If you're nervous, be nervous.
• 1:06:42
  SPEAKER_04: Put that into your work.
• 1:06:44
  SPEAKER_04: But what's fun is like Dana Moore just said, jump into the classroom, challenge yourself.
• 1:06:51
  SPEAKER_04: You know, if you never took a tap class before, take a tap class.
• 1:06:55
  SPEAKER_04: If you've never taken the hip-hop, jump in, take a beginning hip-hop, stand on the back and just challenge yourself because that is what makes you special.
• 1:07:05
  SPEAKER_04: You're gonna approach it your own way and know that all these things that Dana said earlier about Bob had all these things that he thought was wrong with them, those were actually his gifts.
• 1:07:17
  SPEAKER_04: And every one of us has those.
• 1:07:19
  SPEAKER_04: Every one of us thinks that something's wrong with us.
• 1:07:21
  SPEAKER_04: We don't have turnout, we don't have flexibility.
• 1:07:23
  SPEAKER_04: You know what?
• 1:07:23
  SPEAKER_04: Yeah, make them gifts.
• 1:07:27
  SPEAKER_01: We hope you enjoyed our very first genre spotlight episode all about Flosse.
• 1:07:32
  SPEAKER_01: Special shout out to our guests, Dana and Marianne, for joining us on this fabulous chat.
• 1:07:37
  SPEAKER_01: Don't forget to follow them on social media.
• 1:07:40
  SPEAKER_01: You can find Dana on Instagram at officialdana and Marianne at underscore Marianne Lamb underscore.
• 1:07:49
  SPEAKER_01: Also, if you're ever in New York City, jump into Dana Moore's Steps on Broadway class.
• 1:07:54
  SPEAKER_01: And to learn more about the Verdon Fossey legacy, visit their website at verdantflossey.com.
• 1:08:00
  SPEAKER_02: Don't forget to follow Making the Impact on Apple Podcasts, Spotify, Amazon Podcasts, and pretty much everywhere you listen to podcasts.
• 1:08:07
  SPEAKER_02: And if you want more exclusive episodes, support our podcast by joining our Platinum Premium membership for only$5 a month.
• 1:08:14
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• 1:08:22
  SPEAKER_02: Join now at Impact Danceadjudicators.com slash Platinum Premium or click the link in our show notes.
• 1:08:28
  SPEAKER_01: Ready to take your competition dance to the next level?
• 1:08:31
  SPEAKER_01: Looking for a fresh set of eyes to critique your solo?
• 1:08:34
  SPEAKER_01: Then say hello to IDA's online judges critiques.
• 1:08:38
  SPEAKER_01: Simply send us a video of your dance, whether it's from an in-studio rehearsal or an onstage performance, and our judges will take it from there.
• 1:08:46
  SPEAKER_01: Parents, dancers, choreographers, and studios are loving this personalized and professional service for our dance world.
• 1:08:53
  SPEAKER_01: We even offer genre-specific judge requests, 24-hour rush delivery, and bulk order discounts for studios submitting five or more dances.
• 1:09:01
  SPEAKER_01: Prices start at only$35 per critique and are available year round.
• 1:09:06
  SPEAKER_01: Visit our website to learn more and submit your dance now at Impact Danceedjudicators.com slash online critiques.
• 1:09:14
  SPEAKER_02: We are on a roll in season six with some excellent episodes coming your way.
• 1:09:18
  SPEAKER_02: Stay tuned for product versus process, how to stand out in auditions, and how to break into choreography.
• 1:09:25
  SPEAKER_01: Stay tuned for some more genre spotlight episodes throughout season six.
• 1:09:29
  SPEAKER_01: We'll see you next week for more new episodes of Making the Impact.
• 1:09:33
  SPEAKER_01: Until then, keep dancing.