Tony-Winning Broadway Star Ann Reinking Passes Away at 71 | Step

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Ann Reinking, the Broadway star whose sleek style, haunting physicality, and piercing gaze have lit up musicals including Chicago, has died aged 71. the dazzling will be with me forever ”. Reinking manager Lee Gross said she died on Saturday while visiting family in Seattle.

Reinking starred in Cabaret, Pippin and Goodtime Charley (as Joan of Arc) before reprising the role of ambitious and murderous Roxie Hart in Chicago in 1977. Twenty years later, she took over the role and starred won a Tony Award for Renewal Choreography. of this musical in the style of its creator Bob Fosse. She and Fosse had a long relationship on and off the stage; she starred in her show Dancin ‘and directed and co-choreographed a Broadway revue celebrating her work. Their lives are explored in the acclaimed Fosse / Verdon miniseries, in which Reinking is played by Margaret Qualley.

Ann Reinking, right, with Bebe Neuwirth in a performance of Chicago in 2006. Photographie: Walter McBride / Getty Images

In Fosse’s semi-autobiographical film All That Jazz in 1979, the number of Reinking There’ll Be Some Changes Made captures the scintillating, steely darkness of her style, with shrugs, wrist movements and pelvic thrusts. Her on-screen career included a famous role in Annie as the kind Grace Farrell, who helps the red-haired orphan settle into the Daddy Warbucks mansion and shares the number I Think I’ll Be With her. ‘love here. She played one of the two wives of Dudley Moore’s character in the bigamy comedy Micki and Maude (1984).

Born November 10, 1949 in Seattle, Reinking took ballet lessons as a child and studied with the San Francisco Ballet and the Joffrey Ballet. She arrived in New York City in her late teens and danced at Radio City Music Hall before acquiring her first Broadway roles, including part opposite Katharine Hepburn in Coco.

Reinking lived in Arizona with her husband, Peter Talbert, and son, Christopher.

Chicago returned to London in 2018. “Every step is basically a word,” she said in a Guardian interview that year, “especially with musical theater, because you don’t do it for dancing, you are promoting a story – and, more than that, a moral. You propel a story. So the stages – along with the lyrics and the music – always combine to move the story forward. It is really another form of language.

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