Promises Promises 1969

[@brianobrien7983]

The genius of Michael Bennett. His choreography is amazing because to the untrained eye it the moves seem so simple, but there is so much going on. I love how he choreographs in sections. Watching the three main dancers and the way the dancers behind them, and the ones behind them all compliment the central theme of the choreography is mind-boggling. I have watched this video multiple times and every time I do, I see another nuanced move. I wish there was a cleaner picture of this performance out there. It's the Tony's for goodness sake. A pristine copy of this must exist! And yes, Donna McKechnie! Wow!!

[@gerardbannon5403]

This was such a "total Knockout" - You'd think the audience would have stood up or something (at the end) .....

[@Gobi512]

Never get tired of watching this.

[@intothewoods_dave]

Baayork Lee isn’t given enough recognition in this performance. Of course Donna, perfection sublime, and is that Kelly Bishop in the black jacket/skirt, white collared blouse in back of Baayork and Donna at the end?

[@JPLEYONKO4]

Yeah. She also played the nurse in the original cast.

[@lazarelazaro52]

Miss Kelly 'May I sit in your lap?'' Bishop

[@maryrutkowski7195]

whol cast of chorus line a decade later!

[@maryrutkowski7195]

good vision!

[@PeggyHanlein-gr4ck]

A masterpiece of music and dance! And the music is so catchy, in a good way. Love love love!

[@smurf902]

I've stood right next to Donna McKechnie when she was going down to the subway a few years ago. Granted, aging has maybe made her lose a half inch of her height but she is NOT a tall big enormous woman. I know Baayork is tiny but wow Donna looks so regal and huge here. Her limbs and stage presence were second to none.

[@tonytrbeaux9985]

The whole number is just orgasmic! JINGLE BELLS JINGLE BELLS!!! The orchestra was on crack a little too over tempo WHICH MADE IT BETTER more MICHEAL BENNET

[@alextirrellRI]

Right? I've heard Donna say this was too fast but it's just so much fun at this tempo!

[@jenniferhanses7064]

Yeah. I've seen modern renditions, and the dancers are so slow at the end. This feels like the dancers are throwing their all into in an a sort of frantic partying.

[@artistphx]

This was the first Broadway production for me. I remember this segment in particular! If you ask me why, I can't say, just the great dancing?

[@Gobi512]

The best!!!!

[@feathersforfun]

Margo Sappington originally in purple.she left to Choreo Oh Calcutta

[@totallytivo]

Anytime I see other casts perform this number, they never attempt that intersecting figure 8. Actually Donna did this number in 2008, but it's not as mind boggling when it's just four women doing the figure 8.

[@santamonicanationalrecreat5797]

awesome|!

[@MrMjp58]

BB worked musical miracles in the '60's. This is just full of joy. I'd love to hear what Streisand would have made of it...

[@chazofalsa]

Honestly i feel like Vincent minelli missed the opportunity to adapt promises promises as a movie, barbara striesand would've been an amazing fran.

[@smurf902]

This is almost double the tempo to boot. Because of airing time.

[@zigmundp]

Donna said they didn't realize the tempo was going to be speeded up for the telecast. She said they almost broke their necks trying to keep up!

[@vhsstillok]

This number became immortal right on the cusp of vhs. I love it...but....were the vocals pre recorded or sung off stage? That ain't Donna hitting those high notes.

[@jaquen1977]

Pit singers?

[@lazarelazaro52]

These days every one is so Bob Fosse this and that but Michal Bennett was The King really.

[@zigmundp]

I agree. Bennett could imitate and improve on everyone else's style.

[@jackmason4029]

To dismiss Bob Fosse so cavalierly tells me you may not be knowledgeable about his career. He had more time than Michael Bennetti to make dances and direct shows. That puts him slightly out front. His movement vocabulary was so demanding that special classes in "Fosse" style were offered in New York. The Gypsies who worked for him became known as "Fosse dancers," akin to "Balanchine dancers" in ballet. One must take note that, in one 12 month period, Bob Fosse won a TV Emmy for directing/choreography of Liza With a Z, a Broadway Tony for directing/choreography of Liza With a Z, and an Oscar for Directing/Choreography for Cabaret, which won the Oscar for Best Movie. It can be pointed out that the Oscar for Best Actress was awarded to Liza Minnelli for the role of Sally Bowles. If you don't know who Sally Bowles is, I must ask you to leave the room.// Michael Bennett, as choreographer/ass't director, worked with director Hal Prince on Company and Follies, both the stuff of legend, created by Stephen Sondheim. He later spent two years birthing a show about Broadway dancers, formulated in collaboration with some Broadway dancers. Those dancers told of their experiences, and how they came to be there. Since they knew the parts so well, they became A Chorus Line. (Bennett became very rich off the backs of others, but he did sign-over 1% of the show's earnings to be split by the Original Cast. Those still alive, still get that money coming in) Michael got lots of "genius" reviews when the show transferred from (Joe Papp's) Public Theatre to Broadway. Pulitzer Prize for Drama. Best Tony for everything. Special mention here for Michael's muse (and short-term wife), Donna MaKechnie, who was featured dancer in Promises, Promises, featured solo in Company, starring solo in Chorus Line, playing herself, the Best Dancer on Broadway, who was too good to fit into a chorus line. She earned a Tony Award for that performance. Bennett created two other Broadway musicals (Seesaw featured Tommy Tune, a dancer like Bennett, who went on to become a director/choreographer of note) Ballroom (about old people), and Dreamgirls, the most ambitious of them all (about the black music world). Bennett envisioned a movie on stage. The sets did the "dancing." You have heard of Dreamgirls, right? Just say Legendary. Very Legendary. More "genius" accolades for Michael. There has never been a contest of Who's Best, Astaire or Kelly. Each one entertained us. It must, however, be emphasized, that the Legend of Bob Fosse had begun before Bennett got noticed. The triple-crown of Emmy, Tony, Oscar in one year has never been equaled. That Fosse was successful in three different mediums, particularly television and movies, cannot be claimed by Michael Bennett. Choose your own favorite. No way can you lose.

[@davidrosen3970]

But this musical ruined The Apartment, it was a perfect vehicle for a broadway musical and this is just a hash, a lot of rubbish songs that don’t communicate the story AT ALL! What a waste

[@maryrutkowski7195]

Grinch..!