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THEATREGOER'S NOTEBOOK
to hurrahs from her peers, she'd been nominated four times and was almost reluctant to end her reign as "the most famous Tony loser." "John Kander and Fred Ebb wrote a brilliant number for me called 'Losing' because I'd become the expert on how losers should act," says Rivera, adding that the nominations were always more important to her than the awards themselves. Still, she admits, "I got so tired of my friends being unhappy for me that it was almost a relief to win."
Many of the dancers regard their awards as cherished reminders of their collaboration with a favorite choreographer. "Bob Fosse was my mentor," says Ben Vereen, reminiscing about the star-making role Fosse created for him in Pippin. "I miss his friendship, his patience, his perfectionism and his loving care."
Thirteen years after his Tony win, Vereen presented the Best Featured Actress award to Bebe Neuwirth, who'd been inspired to become a show dancer when she saw Pippin on Broadway as a young girl. Neuwirth, known to television viewers as Lilith on "Cheers," won for the 1986 revival of Sweet Charity. "It was a blessing to work with Bob Fosse and Gwen Verdon, who's a genius," she says. (Verdon helped her former husband recreate Charity's famous musical numbers.)
Among the performers identified with a single "signature" role, the most famous dancer may be Donna McKechnie of A Chorus Line. Though she hasn't created a role on Broadway since her unforgettable work as Cassie, McKechnie now says, "The benefits of being known for A Chorus Line far outweigh any kind of disadvantages. I'm constantly being nourished and fed, not just financially but physically and also through the richness of the experience of performing the role. Every few years, I was able to do it in a different condition and place [including Japan, Paris, and a 1989 national tour], and I'm always amazed at how much it gives me. Last summer, I met families who'd say, 'We named our daughter Cassie after you,' and she'd be standing there, 14 years old!"
Reflecting on the choreography of her director (and, briefly, husband), the late Michael Bennett, McKechnie says, "Michael and I danced alike, and his moves, especially for me, had such a sense of abandon. He gave me the freedom and the luxury to interpret, so I felt a little spoiled." She refuses to become downbeat over the Broadway closing of A Chorus Line, saying, "This is a show that will never, ever die. We broke box-office records on tour last summer, even in Boston, which has seen the show ten times. There will always be an audience for it."
With a shortage of new musicals, the Tony-winning dancers keep busy touring, performing in night clubs, choreographing and working in television and movies. Honi Coles suffered a stroke two years ago but travels the country lecturing and emceeing tap dance festivals. Only Hinton Battle is headed toward Broadway as a star of the new musical Stardust.
"I like to work," says Chita Rivera, who recently headlined a successful national tour of Can-Can, "and if you can't do it in New York, you suddenly become aware of all these wonderful cities across the country with people who are hungry for theatre. They really enjoy themselves, and that's what we're out there for."
When Broadway calls, however, these dancing pros will be ready. "There's nothing like having a hit show on Broadway," says Ben Vereen. "You walk down that street and see your name on that marquee, you go into your dressing room and put on that greasepaint, then you come onstage and greet an audience waiting for you to take them on a journey to a place of ecstasy and enjoyment. There's simply nothing like it."

MASTER THEATRE QUIZ -- #6
The choreographer of which of these shows received a posthumous Tony?
(a) A Chorus Line (b) Applause (c) 42nd Street

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