Fosse/Verdon (2019)
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Gwen fights to assert her own creative vision on Chicago, challenging Bob's increasingly dark approach to the musical.


Thomas Kail





Episode cast overview, first billed only:
Sam Rockwell ... Bob Fosse
Michelle Williams ... Gwen Verdon
Norbert Leo Butz ... Paddy Chayefsky
Margaret Qualley ... Ann Reinking
Jake Lacy ... Ron
Aya Cash ... Joan Simon
Nate Corddry ... Neil Simon
Bianca Marroquin ... Chita Rivera
Danny Burstein ... OB / GYN
Juliet Brett ... Nicole Fosse
Ari Brand ... Danny
Sydni Beaudoin ... Lori
Peter Chursin Jr. Peter Chursin Jr. ... Christopher Chadman (as Peter Chursin)
Teddy Coluca ... Herb Schlein
Sean Patrick Doyle ... Michael O'Haughey


Gwen fights to assert her own creative vision on Chicago, challenging Bob's increasingly dark approach to the musical.

Plot Summary | Add Synopsis


Biography | Drama | Music








Release Date:

21 May 2019 (USA) See more »

Company Credits

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Did You Know?


Fosse tells Chayefsky that if he (Chayefsky) dies first, he won't say a word at his funeral--just do a tap dance. Chayefsky did indeed precede Fosse in death by six years (1981 & 1987). See more »


References Sweet Charity (1969) See more »

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User Reviews

one phone call..
29 May 2019 | by Arth_JoshiSee all my reviews


Thomas Kail and Steven Levenson, the creators, actually wants to tell this story. The zest keeps the series alive and us engaged in their intertwining of multiple parallel running plots, all synced in one big provocative musical number. Yes, provocative is the word I'd use. If watching Sam Rockwell play Bob Fosse arrogantly and Michelle Williams cutting him sharply, won't amp up you to the brisk of the seat, I don't know what will. Simply, put it this way, it is just good television. As mentioned, the non linearity is the best asset to the series. Not only for the subsequent punches that it prepares for, in each chapter but the magnitude of the change in the priority; hater gets to hate and lovers, the reason to run for the autographs.

And this is one of the primary reason why, the chapters keep increasing the stakes and as a result the adaptation, of Sam Wasson's book Fosse, keeps getting better. Surprisingly, the singularity of the character remain resonant. With this much plot being choked up, in the first glance, the structure looks like some tangled earphones- 21st century-, the command of these creators over these characters is impeccably inspiring. And the rest of the work is done by the performance of the cast. Signing big, big names like Rockwell and Williams, the check pays off.

The chemistry is better off left alone, and no matter how good your writing is, the performance is the only way that could have justified their real equation. Biting and kicking each other, from the first act, the choreographer is ignored by the dancer and the dancer is never respect in front of choreographer's eyes. Yet, Williams and Rockwell dances so elegantly. It is not the passionate attraction that makes us believes in their reasons for being together, it is something beyond the show business that they crave for or the social life that bars them to behave in a specific way or the ethical reasons of bearing each other in one room, it should have been Rockwell/Williams and not Fosse/Verdon.


This is the Prestige of the acts, as we call it. The shockers are shocking and the head turned revelations breathtakingly significant at this point of the series. Outdoing their own flaws and strengths, the narration has reached that grey area that we were never expecting for and now cannot wait for.

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