“True, some of the show is autobiographical in that it draws on my own experience. But, says Bennett, the dancers’ revelations have the effect of a collective biography. At a real audition, there is neither time nor money for on‐stage psychotherapy. The intensely personal responses of the candidates to the director's cold interrogation are, of course, a gimmick, a hook upon which to impale the audience's concern.
The others pack up their rehearsal clothes, and their hopes, for another audition. This they do, telling stories that range from broken homes to homosexuality to dreams of glory sparked by the Moira Shearer dance film “The Red Shoes.” Finally, the director rejects all but four boys and four girls. The director sizes them up, immediately cuts their number to 18 and then invites the rest to step forward, one by one, and tell him something true about themselves. Twenty - four dancers are trying out for eight openings in the chorus line of an upcoming musical. Martha Swope Michael Bennett, right, rehearses: “We'd never get this chance on Broadway.” In ‘A Chorus Line,’ I tried to show the audience exactly what Broadway dancing is all about, on all its levels.” “Broadway dance,” he observes simply, “is what I know, what I was, and what I am. At 32, Bennett, a former chorus “boy” himself, is quick to acknowledge his roots and debts. “I could spend the rest of my life chasing this show, trying to top myself, and that's a trap I want to stay out of.”Ī line in the playbill reads, “This show is dedicated to anyone who has ever danced in a chorus or marched in step … anywhere.” Bennett says he included that thibute as a measure of respect and affection for the dancers who give life and farm to his art. “I'm trying to keep myself in check,” he admitted. ascetic ‘face, with, its odd coinbinittion of closetrimmed Amish - style chin whiskers and Sicilian mustache, showed the accumulated ‘fatigue of long hours of rehearsal, and the dawning realization of - gold - plated success. Bennett, a slight, wiry figure in faded T‐shirt and jeans, was relaxing for the first time in months his bonny. We were tailing on the sunny terrace of Bennett's midtown apartment cum office. Michael Bennett, who conceived, choreographed and directed the new musical that its the surprise hit of the season downtown at the Public Theater, was responding to the critics who had almost unanimously hailed his show as a new‐style musical. It's this experience that makes the show different, makes it innovative.” In fact, people seem to be finding ‘A Chorus Line’ more believable than most plays they've seen recently. The audience starts believing in those chorus dancers Iright away. Survivors include his husband, director and producer Peter Pileski sister Laura, and five nieces and nephews.“There is truth on that stage - nothing monumental or astounding, but truth nonetheless. His memoir, Dancing Man: A Broadway Choreographer’s Journey, co-written with Tom Santopietro, was published in 2020.
He went on to work with Bennett again on Promises, Promises Coco Company Follies Twigs Seesaw God’s Favorite A Chorus Line Ballroom and Dreamgirls, which played on Broadway through August 1985 in its original production.Īvian also choreographed the London premiere of Follies and created the musical staging for Miss Saigon, both for producer Cameron Macintosh did the musical staging for Andrew Lloyd Webber’s Sunset Boulevard in London and on Broadway, receiving his sixth career Tony nomination in 1995 and won an Olivier Award for best choreography for Martin Guerre.Īvian also choreographed Stephen Sondheim’s Putting It Together off-Broadway at the Manhattan Theatre Club starring Julie Andrews in 1993 and then on Broadway starring Carol Burnett in ’99.īack in London, he choreographed The Witches of Eastwick, starring Ian McShane, on the West End, then directed the 2006-08 Broadway revival of A Chorus Line.
26, 1937, Avian graduated from Boston University’s College of Fine Arts and also studied at Boston Ballet School. He began his professional career in the ’60s as a dancer on Broadway shows including West Side Story, Funny Girl and Henry, Sweet Henry, which was choreographed by Bennett. He was also a lead producer on the original and national companies of Dreamgirls, winner of six Tonys.īorn in New York on Dec. In 1976, Avian received his first Tony as co-choreographer of A Chorus Line and won his second three years later for co-choreographing Ballroom (he produced that as well). He was 83.Īvian, who often collaborated with famed Broadway choreographer and director Michael Bennett, died Thursday of cardiac arrest at Holy Cross Hospital in Fort Lauderdale, Florida, publicist Matt Polk announced. Bob Avian, the two-time Tony Award-winning choreographer who worked on A Chorus Line, Dreamgirls and Promises, Promises in a Broadway career that spanned six decades, has died.