Gwen Verdon: The Redheaded Darling of Broadway
They say that behind every successful man there is a strong woman, and that was just the case for jazz dance innovator Bob Fosse. Her name was Gwenyth Evelyn Verdon, but known to theater aficionados during the 1950s and ‘60s as ‘The Redheaded Darling of Broadway.’
This vivacious and versatile performer was born in 1925 in Los Angeles, California to a showbiz family. She danced throughout her childhood, mastering multiple disciplines, including ballet, tap, jazz and ballroom. By the time she was in high school, she had already danced in a few notable stage performances.
In the 1940s, Verdon had a short-lived marriage with a journalist and shifted her career path to writing reviews for movies and nightclub acts. A few years into her new career, she received the opportunity to work with the legendary Jack Cole as an assistant choreographer on “Magdalena,” a job that some say helped propel her back into the glittering world of showbiz.
Two years later, the dancing songstress made her Broadway debut in “Alive and Kicking.” But it wasn’t until being cast in Cole Porter’s “Can-Can” in 1953 that Verdon received national notoriety. She played the role of Claudine, a Parisian laundry girl who moonlights as a high-kicking can-can dancer. Her stellar performance earned her the 1953 Tony Award for Best Featured Actress in a Musical. It was only her second time on the Broadway stage.
In 1955, Verdon solidified her reputation as the best dancer on Broadway when she charmed audiences with her bewitching portrayal of Lola in “Damn Yankees.” This role brought her more than the 1956 Tony Award for Distinguished Musical Actress; it also kindled a life-long relationship with choreographer Bob Fosse, who would become her husband five years later. In 1958, Fosse cast his future spouse in the movie version of “Damn Yankees,” despite her lack of film experience.
In 1966, three years after the birth of their daughter Nicole, Verdon returned to the stage as a bright-eyed dance hall hostess playing the role of Charity Hope Valentine in “Sweet Charity,” also choreographed by Fosse. Although her career was taking off smoothly, her marriage was tumultuous—on a professional level Verdon and Fosse made a perfect team, but behind closed doors they struggled to make it work.
The pair split in 1971 when Verdon filed for legal separation. They remained close friends and colleagues, however, and collaborated on many projects including “Chicago” in 1975. Verdon played Roxie Hart, the notorious fame-seeking showgirl accused of murder—a role she is still widely celebrated for today.
In the years that followed, Verdon turned her talents to the big screen and appeared in numerous films including “The Cotton Club,” “Cocoon,” “Cocoon: The Return,” and “Alice.” She also made numerous television appearances on shows such as “M*A*S*H,” “Dear John,” “Webster,” and "Magnum P.I.,” which earned her an Emmy award nomination.
In 1987, Fosse suffered a fatal heart attack at the premiere of the revival of “Sweet Charity” in Washington, D.C. Verdon was by his side. In 1999, she helped create the Broadway musical “Fosse,” homage to her late-husband’s life and work.
The four-time Tony Award winner continued acting and teaching dance until her death in 2000 at the age of 75. A few years later she made posthumous headlines for her 1969 performance to “Mexican Breakfast” on the Ed Sullivan Show, which many contend was the inspiration for Beyonce’s “Single Ladies” video.
Material documenting Verdon’s life and career can be found in the Music Division of the Library of Congress in Washington, D.C. For more information on the redheaded darling of Broadway visit loc.gov/rr/perform.