Dancing Through Life: A Broadway Memoir of Luck and Talent
Autor Larry Fuller, Kergan Edwards-Stouten Limba Engleză Hardback – 13 mai 2027
Dancing Through Life is an intimate, electrifying memoir that pulls back the curtain on Broadway's most dazzling decades-told by a man who didn't just witness history, but helped create it. From his modest beginnings in Missouri to the bright lights of New York's most celebrated stages, Larry Fuller's journey is one of grit, instinct, and relentless reinvention.
With disarming honesty and sharp wit, Fuller charts his evolution from chorus dancer to sought-after choreographer, working alongside legends like Angela Lansbury, Patti LuPone, Elizabeth Taylor, Jerome Robbins, Bob Fosse, Gwen Verdon, and Nathan Lane. He offers a rare insider's view of iconic productions including West Side Story and The Music Man, capturing the artistry, ego, and pressure that defined a golden age of musical theatre.
More than just a backstage chronicle, this is a deeply personal story of identity and survival. As a gay man navigating mid-20th-century America, Fuller reveals the quiet negotiations required to live authentically in a world that often demanded silence. At its emotional core are his previously unspoken relationships with two titans of Broadway-Hal Prince and Michael Bennett-shedding new light on the complex intersections of power, creativity, and intimacy behind the scenes.
Rich with revelation, warmth, and hard-won insight, Dancing Through Life preserves a vanishing era through the eyes of one of its last living witnesses. It is both a love letter to the theatre and a testament to the courage it takes to claim your place within it.
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Specificații
ISBN-13: 9781350672789
ISBN-10: 1350672785
Pagini: 232
Dimensiuni: 156 x 234 mm
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Locul publicării:London, United Kingdom
ISBN-10: 1350672785
Pagini: 232
Dimensiuni: 156 x 234 mm
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Locul publicării:London, United Kingdom
Cuprins
Preface
1. Beginnings
2. Bright Lights, Big City
3. I Feel Pretty
4. The Music Man
5. Redhead
6. My Year with Paul Jasmin
7. Jack Cole: Back-to-Back-to-Back
8. Bravo Giovanni
9. No Strings & Perry Como
10. Dance - 10, Looks - 3
11. Funny Girl
12. Variety Is the Spice of Life
13. Funny Girl - Other Productions
14. From Choreographer to Director
15. Steve Harmon
16. Hello, Sucker!
17. Extreme Highs, Devastating Lows
18. Finding Myself
19. Me and the Thetans
20. A Transition in Europe
21. A Little Night Music
22. The Boarding School
23. On the Twentieth Century
24. Evita - London's West End
25. New Ways to Dream
26. Sweeney Todd
27. Evita - Broadway
28. Silverlake: A Winter's Tale
29. 22 Years of Oil & Water
30. Oil & Water Cohabitate
31. Invitation to the Dance
32. Oscar Remembered
33. Merrily We Roll Along
34. A Doll's Life
35. Is There Life After High School?
36. Dance of the Defectors
37. Marilyn! The Musical
38. Oil & Water Try to Make It Work
39. Nathan Lane in Love
40. Gotta Getaway
41. Award Season
42. Jo Raquel Tejada
43. All Girl Band
44. Time
45. Oil & Water Go Bicoastal
46. A Multitude of Evas
47. On Your Toes
48. Aladdin (But Not the One You're Thinking)
49. I Do! I Do!
50. A German Superstar
51. Jazzleggs
52. Oil & Water Combust
53.Jekyll & Hyde
54. JFK: A Musical Drama
55. You've Got to Have Friends
56. Half a Lifetime of Red Ribbons
57. An Ending - and a Beginning
58. Closing
About the authors
1. Beginnings
2. Bright Lights, Big City
3. I Feel Pretty
4. The Music Man
5. Redhead
6. My Year with Paul Jasmin
7. Jack Cole: Back-to-Back-to-Back
8. Bravo Giovanni
9. No Strings & Perry Como
10. Dance - 10, Looks - 3
11. Funny Girl
12. Variety Is the Spice of Life
13. Funny Girl - Other Productions
14. From Choreographer to Director
15. Steve Harmon
16. Hello, Sucker!
17. Extreme Highs, Devastating Lows
18. Finding Myself
19. Me and the Thetans
20. A Transition in Europe
21. A Little Night Music
22. The Boarding School
23. On the Twentieth Century
24. Evita - London's West End
25. New Ways to Dream
26. Sweeney Todd
27. Evita - Broadway
28. Silverlake: A Winter's Tale
29. 22 Years of Oil & Water
30. Oil & Water Cohabitate
31. Invitation to the Dance
32. Oscar Remembered
33. Merrily We Roll Along
34. A Doll's Life
35. Is There Life After High School?
36. Dance of the Defectors
37. Marilyn! The Musical
38. Oil & Water Try to Make It Work
39. Nathan Lane in Love
40. Gotta Getaway
41. Award Season
42. Jo Raquel Tejada
43. All Girl Band
44. Time
45. Oil & Water Go Bicoastal
46. A Multitude of Evas
47. On Your Toes
48. Aladdin (But Not the One You're Thinking)
49. I Do! I Do!
50. A German Superstar
51. Jazzleggs
52. Oil & Water Combust
53.Jekyll & Hyde
54. JFK: A Musical Drama
55. You've Got to Have Friends
56. Half a Lifetime of Red Ribbons
57. An Ending - and a Beginning
58. Closing
About the authors
Recenzii
Larry Fuller's career has spanned some of the most influential and transformative moments in musical theater history.
Seeing Larry in action, working on the original (and best) production of Evita, in London in 1978, was a revelation. His work revealed to me that he was a true genius and there is no question in my mind that his contribution to what became a massive success was absolutely crucial. He inspired everyone involved with the show.
Larry Fuller's work on Evita with Hal Prince is blazed into my memory. It was a perfect match of director and choreographer storytelling. Watching Patti LuPone perform 'Rainbow High' as the choreography and staging changed her before our eyes was breathtaking. It is just one of the many examples where Larry's work remains unsurpassable.
An unsung hero of Broadway, Larry Fuller did the choreography for some of the most legendary productions in musical history. It's time that his story is told.
I loved working with Larry. I loved working on the whole show. My only wish is that we could do the whole thing over again starting today. It was one of the true gifts of my life. Thank you, Larry!
Larry Fuller is an important part of that brilliant Golden Age of Musical Theatre, having collaborated with some of the greatest artists of that era. He created dances that were character and story driven, for both stage and screen. I always loved how he gave each piece its own unique expression with his staging, finding the integrity and the truth in each one. His iconic work in Evita, alone, is a great legacy.
Larry Fuller has been a wonderful part of my life since we met on Evita in 1979, when I played Eva Perón on the National Tour. When he later directed me in the show, our professional relationship became a lasting friendship. His extraordinary talent, generosity, and support have meant more to me than I can say. I feel fortunate to call Larry my friend and to see his remarkable life and career celebrated in these pages.
Choreographing Sweeney Todd, Larry Fuller was in an enormously pressurized situation, which he navigated brilliantly. I really appreciated his ability to handle the challenges with talent and enormous charm. It was a great asset to the ultimate outcome, and his choreography was not only inventive, but also manageable for all of us. Quite an accomplishment!
Larry takes us back to those fabulous days in the theater and on film that will never be repeated. He was a favorite with producers and with his fellow dancers. I love him dearly, and what a wonderful journey his has been-a life well lived.
Larry's work brought a unique elan to the staging of several historic Broadway musicals, assuring his place in the pantheon of greats.
Lily Garland, Mildred Plotka, and I had a joyous ride in On the 20th Century with Larry. Thank you for that, Larry, and-mostly-for knowing.
Larry Fuller is Broadway's 'Man for all Reasons...' Performer, choreographer, director! He does it all and damn well. I know, firsthand. He made me-and everyone he ever worked with-look good!
Given the pretty high-strung nature of a number of folks connected to the original Broadway production of Evita, Larry's choreography was splendid and seemed to have come from a very serene and confident imagination.
I was privileged to work with Larry in the 1981 Hal Prince/Stephen Sondheim musical Merrily We Roll Along, when, during previews he joined us as a "knight in shining armor," to lovingly rescue the choreography. With his kindness, caring heart, great style, and genuine interest in each of us, he matched the dance to our already established personalities and characters and allowed us to shine. I would follow him anywhere!
Words cannot express how enriching it was to have seen, so many years ago, the productions featuring the work of Larry Fuller. Those were shows that can never be replicated; fiercely beautiful, original works that affected me deeply. For new generations of theatre creators and lovers it is of the utmost importance to have this book as a record of the splendors of the Broadway experience.
When, during previews, Larry Fuller replaced the original choreographer on Merrily We Roll Along, he encountered a battered company of young actors who'd pretty much been brutalized by his predecessor. Larry brought wit, smarts, enormous expertise, and-more than that-he renewed the confidence of a bunch of young people who had in some ways lost their faith in themselves. He polished the show in a way that allowed us to shine in our own right and feel good about our abilities. What a gift! He was-and remains-truly beloved by that original cast, and rightly so!
Larry Fuller has held an important place in Broadway history since the 1950s. As a performer, he was part of major Golden Age musicals including West Side Story, The Music Man, and Funny Girl. As a choreographer, he contributed to the game-changing, ambitious shows of the following era including Sweeney Todd, Evita, and Merrily We Roll Along. His stories cover decades of Broadway history in which he was a vital part and his insights offer a unique glimpse into those productions that no one else can provide.
Larry and I became friends working on the show that changed my life, On the Twentieth Century. Now we'll get to hear the backstory.
When I played Che in the 20th Anniversary National Tour of Evita, I told Larry Fuller that rehearsing the show felt like the terrifying thrill of a roller coaster about to plunge. He smiled and said, 'Careful what you wish for. Cause you just got it.' I was a young actor who had never worked on Broadway, longing for my chance to soar. Larry took a chance on me and threw the doors open. That is who Larry Fuller is: the man who gave me the sky.
I first knew Larry Fuller by reputation when I arrived in New York in 1980, when I second-acted Evita five times because I couldn't afford a ticket. (Sorry, Larry-I'm told Act One was terrific.) Our paths eventually crossed and I've loved every moment in Larry's orbit. He is, quite simply, Broadway personified.
What a career! What a life! What a story! Larry Fuller has contributed so much to the musical theater from his youth in the golden age of the fifties to the present day. He's collaborated with giants and knows where the bodies are buried. How fortunate we are that, at last, he's chosen to tell his story.
I had the great pleasure of working with Larry Fuller on Broadway's original production of Merrily We Roll Along. Larry came onboard during previews, when the show was going through many necessary changes. He understood that we in the cast were primarily singing character actors, not hired as dancers. Despite that, he made smart changes, highlighting our strengths and capabilities, bringing sharper clarity to the storytelling. Mostly, I remember that Larry was kind and respectful, a much-needed godsend to us all.
I truly enjoyed working with Larry on Is There Life After High School? He was the calm in a turbulent process. Always professional, always kind and understanding and he was one of those gifted choreographers who knew how to work with non-dancers and make us look like we danced. A rare gift.
At 25 years-old, I was hired as Judy Kaye's understudy when she took over for Madeline Kahn in On the Twentieth Century. I remember being amazed at the choreography of Larry Fuller, particularly the tap-dancing porters. It was an honor to be a part of such a phenomenal production.
Seeing Larry in action, working on the original (and best) production of Evita, in London in 1978, was a revelation. His work revealed to me that he was a true genius and there is no question in my mind that his contribution to what became a massive success was absolutely crucial. He inspired everyone involved with the show.
Larry Fuller's work on Evita with Hal Prince is blazed into my memory. It was a perfect match of director and choreographer storytelling. Watching Patti LuPone perform 'Rainbow High' as the choreography and staging changed her before our eyes was breathtaking. It is just one of the many examples where Larry's work remains unsurpassable.
An unsung hero of Broadway, Larry Fuller did the choreography for some of the most legendary productions in musical history. It's time that his story is told.
I loved working with Larry. I loved working on the whole show. My only wish is that we could do the whole thing over again starting today. It was one of the true gifts of my life. Thank you, Larry!
Larry Fuller is an important part of that brilliant Golden Age of Musical Theatre, having collaborated with some of the greatest artists of that era. He created dances that were character and story driven, for both stage and screen. I always loved how he gave each piece its own unique expression with his staging, finding the integrity and the truth in each one. His iconic work in Evita, alone, is a great legacy.
Larry Fuller has been a wonderful part of my life since we met on Evita in 1979, when I played Eva Perón on the National Tour. When he later directed me in the show, our professional relationship became a lasting friendship. His extraordinary talent, generosity, and support have meant more to me than I can say. I feel fortunate to call Larry my friend and to see his remarkable life and career celebrated in these pages.
Choreographing Sweeney Todd, Larry Fuller was in an enormously pressurized situation, which he navigated brilliantly. I really appreciated his ability to handle the challenges with talent and enormous charm. It was a great asset to the ultimate outcome, and his choreography was not only inventive, but also manageable for all of us. Quite an accomplishment!
Larry takes us back to those fabulous days in the theater and on film that will never be repeated. He was a favorite with producers and with his fellow dancers. I love him dearly, and what a wonderful journey his has been-a life well lived.
Larry's work brought a unique elan to the staging of several historic Broadway musicals, assuring his place in the pantheon of greats.
Lily Garland, Mildred Plotka, and I had a joyous ride in On the 20th Century with Larry. Thank you for that, Larry, and-mostly-for knowing.
Larry Fuller is Broadway's 'Man for all Reasons...' Performer, choreographer, director! He does it all and damn well. I know, firsthand. He made me-and everyone he ever worked with-look good!
Given the pretty high-strung nature of a number of folks connected to the original Broadway production of Evita, Larry's choreography was splendid and seemed to have come from a very serene and confident imagination.
I was privileged to work with Larry in the 1981 Hal Prince/Stephen Sondheim musical Merrily We Roll Along, when, during previews he joined us as a "knight in shining armor," to lovingly rescue the choreography. With his kindness, caring heart, great style, and genuine interest in each of us, he matched the dance to our already established personalities and characters and allowed us to shine. I would follow him anywhere!
Words cannot express how enriching it was to have seen, so many years ago, the productions featuring the work of Larry Fuller. Those were shows that can never be replicated; fiercely beautiful, original works that affected me deeply. For new generations of theatre creators and lovers it is of the utmost importance to have this book as a record of the splendors of the Broadway experience.
When, during previews, Larry Fuller replaced the original choreographer on Merrily We Roll Along, he encountered a battered company of young actors who'd pretty much been brutalized by his predecessor. Larry brought wit, smarts, enormous expertise, and-more than that-he renewed the confidence of a bunch of young people who had in some ways lost their faith in themselves. He polished the show in a way that allowed us to shine in our own right and feel good about our abilities. What a gift! He was-and remains-truly beloved by that original cast, and rightly so!
Larry Fuller has held an important place in Broadway history since the 1950s. As a performer, he was part of major Golden Age musicals including West Side Story, The Music Man, and Funny Girl. As a choreographer, he contributed to the game-changing, ambitious shows of the following era including Sweeney Todd, Evita, and Merrily We Roll Along. His stories cover decades of Broadway history in which he was a vital part and his insights offer a unique glimpse into those productions that no one else can provide.
Larry and I became friends working on the show that changed my life, On the Twentieth Century. Now we'll get to hear the backstory.
When I played Che in the 20th Anniversary National Tour of Evita, I told Larry Fuller that rehearsing the show felt like the terrifying thrill of a roller coaster about to plunge. He smiled and said, 'Careful what you wish for. Cause you just got it.' I was a young actor who had never worked on Broadway, longing for my chance to soar. Larry took a chance on me and threw the doors open. That is who Larry Fuller is: the man who gave me the sky.
I first knew Larry Fuller by reputation when I arrived in New York in 1980, when I second-acted Evita five times because I couldn't afford a ticket. (Sorry, Larry-I'm told Act One was terrific.) Our paths eventually crossed and I've loved every moment in Larry's orbit. He is, quite simply, Broadway personified.
What a career! What a life! What a story! Larry Fuller has contributed so much to the musical theater from his youth in the golden age of the fifties to the present day. He's collaborated with giants and knows where the bodies are buried. How fortunate we are that, at last, he's chosen to tell his story.
I had the great pleasure of working with Larry Fuller on Broadway's original production of Merrily We Roll Along. Larry came onboard during previews, when the show was going through many necessary changes. He understood that we in the cast were primarily singing character actors, not hired as dancers. Despite that, he made smart changes, highlighting our strengths and capabilities, bringing sharper clarity to the storytelling. Mostly, I remember that Larry was kind and respectful, a much-needed godsend to us all.
I truly enjoyed working with Larry on Is There Life After High School? He was the calm in a turbulent process. Always professional, always kind and understanding and he was one of those gifted choreographers who knew how to work with non-dancers and make us look like we danced. A rare gift.
At 25 years-old, I was hired as Judy Kaye's understudy when she took over for Madeline Kahn in On the Twentieth Century. I remember being amazed at the choreography of Larry Fuller, particularly the tap-dancing porters. It was an honor to be a part of such a phenomenal production.
Notă biografică
Larry Fuller is an American dancer, choreographer, and director whose career spans Broadway, the West End, major European stages, film, and television. He began as a performer in landmark productions including West Side Story, Carousel, The Music Man, and Funny Girl, working alongside influential artists such as Jerome Robbins and Bob Fosse. These early experiences grounded him in the golden-age musical tradition and shaped his evolution into a leading creative force in the theater.
As a choreographer and director, Fuller's work includes Broadway productions such as Evita (Tony Award nomination), Sweeney Todd, On the Twentieth Century, and Merrily We Roll Along, along with extensive international staging across London, Vienna, Berlin, and beyond. His credits also include work for New York City Opera, Radio City Music Hall, and television, including the Tony and Emmy Awards. Across decades and continents, his work reflects a commitment to storytelling through movement, combining precision, musicality, and emotional depth. He lives in Palm Springs, California.