“When you’re walking backwards, and you roll your shoulder backwards, it’s not a seduction—it’s a con.” It’s one of the first impressions we get of Michelle Williams’ Gwen Verdon as she dispe…
, up for 17 Primetime Emmys, which shows how, not God, but Verdon, was always in the details of the choreographer-turned-filmmaker’s theatrical and cinema canon. To this day, Fosse remains the only entertainer to win the triple crown of an Oscar, Emmy and Tony in the same year—1973—all before he checked into a mental hospital feeling suicidal.
“Gwen was best at describing the dances to other dancers,” Williams says. “So, when she would demonstrate a move, like, say, moving her index finger in a small circle, she should say, ‘There’s a right way, and there’s a wrong way to do it. It’s not just moving your finger in a small circle. It’s the feeling with which you do it, like you’re tickling an angel’s bottom.’ She was very adept at using language to get a very specific interpretation out of a dancer.
In addition to being portrayed in the series as a fresh pair of eyes for Fosse, on sets, in dance studios and editing rooms, Verdon is shown to be a liaison between Fosse and the Hollywood studios. In the first episode “Life is a Cabaret”, producer Cy Feuer gives Fosse a difficult time on theto little box office results, and dragging his feet with the current shoot. Earlier, when Fosse pitches himself forFeuer wants to know if Verdon will be around to tame the genius.
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