“We had a sense of responsibility to get it right by Bob and Gwen,” proclaims Steven Gizicki about his and Alex Lacamoire’s work on “Fosse/Verdon.” Both Gizicki and Lacamoire are Emmy-nominated for Best Music Supervision and Best Music Direction respectively for their work on the FX series about the professional and personal relationship between Bob Fosse (Sam Rockwell) and Gwen Verdon (Michelle Williams). In our exclusive video interview (watch above), Gizicki and Lacamoire discuss the importance of re-imagining the classic music from both Fosse and Verdon’s vast musical catalogs. “It was the weaving in and out of those songs that was the real joy ride for me,” Lacamoire says.
Gizicki, a Grammy winner for his work on the soundtrack of “La La Land,” explains that music supervision involves more than just picking the songs. He believes that his job is to “execute the vision” of the project, while Lacamoire, whose work on Broadway shows like “Hamilton” and “Dear Evan Hansen” have earned him Tony and Grammy Awards, creates the musical moments within that vision. “Alex is more the musical genius, and I give him the tools that he needs to make it happen,”
Lacamoire also worked extensively with the actors who were performing classic songs from “Cabaret,” “Sweet Charity,” and “Chicago,” hoping to avoid simply imitating the iconic performances of Verdon, Joel Grey and Liza Minnelli among others. “I hear those recordings… and there’s something about their performances that we’re drawn into,” Lacamoire explains. “Whatever that ‘special something’ was I just tried to have our actors try to add that spice, that special sauce into their performances.”
Despite their knowledge of musical theater, both Gizicki and Lacamoire admit that there were certain pieces that surprised them. Lacamoire was not as familiar with “Sweet Charity,” while Gizicki calls his discovery of “Pippin,” the classic Fosse musical featured heavily in the show’s fourth episode, a revelation. He describes a warm-up session, with the cast in full “Pippin” costumes, that grew into a full blown sing-along of the entire score. “It was so incredibly magical,” Gizicki exclaims, “and hilarious with bell-bottoms and wigs everywhere.”
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