Julio Bocca, Broadway Baby.

THE NEWS that American Ballet Theater's star guest artist, Julio Bocca, was joining the Broadway musical Fosse came as a surprise. Somehow, the thought of a classically disciplined-if delightfully extroverted-Bocca doing the gritty bumps and grinds of Bob Fosse's bonecracking choreography was hard to visualize. But sure enough, Fosse's got Bocca. It's giving a twist to a show that, like Cabaret, Chicago, and Annie Get Your Gun (to mention a few), boosts its flagging box office by replacing a leading role with a different star.

When Fosse opened a year ago, Desmond Richardson had the appropriate credentials (Alvin Ailey, ABT) to shine in the role, now being taken over by Bocca, which includes demanding solos like "Percussion 4" and the haunting "Bojangles," as well as ensemble dances. Why did Bocca decide to take this jazzy step into the world of Broadway? When presstime was approaching, he was in Buenos Aires and we couldn't talk face to face. Here, however, are his insightful answers to some questions.

H.O.: Why do a Broadway musical and Fosse in particular? Whose idea was it anyway?

Bocca: It was Fosse's [management]. They contacted us to make the offer, and I'm very grateful. I saw the show in 1998 and was fascinated ... I've seen it three times since, and I've also caught the new versions of Chicago and Cabaret, as well as the movies Sweet Charity and All That Jazz. I've always admired Fosse. Deep in my heart I hoped I would be dancing him sometime. He's become a legend.

H.O.: Have you ever appeared in a musical before?

Bocca: I had an offer two years ago for Carousel--there was a magnificent solo for me--but I wasn't able to do a season due to other engagements ... and I was in no shape to do eight shows in a row per week at the time.

H.O.: Do you think the Fosse technique will be difficult for you, a classical ballet dancer, to master? How do you prepare for it? Is there a risk that the very different jazz technique could affect you or even be harmful?

Bocca: It's always difficult to face a new technique, especially if it's such a distinctive style as Fosse's ... but I don't think it's impossible. It's a question of partnership between the work of your body and feeling. I believe you have to feel Fosse. Also, far from hurting me, I think to master the style will enhance my dancing career. I was never stuck in "classic." Together with my company, Ballet Teatro Argentino, we are always preparing new works by contemporary choreographers set to music ranging from tango to mambos by Perez Prado. We staged two pieces by [Martha] Graham at the end of 1999--Diversion of Angels and Acts of Light.

H.O.: Specifically, who was involved in coaching you for Fosse and did you take jazz and contemporary dance classes? Did you speak to Ann Reinking and Gwen Verdon (the show's co-directors), or Chet Walker (choreographer and recreator)?

Bocca: My only contact with jazz--apart from it being music I love and enjoy--was a rehearsal with Ann Reinking last October during my City Center season with ABT. I thought it was necessary for two things: so I could see what was going on in facing Fosse, and to let them see they were not making a mistake by choosing me. Fortunately, that rehearsal was enough for them to agree and for me to feel truly happy. Ann was very kind. We started a great relationship while still in the "advice" stage. I listen carefully to all they can advise and comment.

H.O.: Is going into Fosse the opening up of a whole new career for you or is it to be viewed as a one-shot deal?

Bocca: Fosse marks the beginning of something totally new for me. I would love to do other Broadway shows when ever I can, trot I must confess I'm not a good singer and that's a big limitation.

H.O.: You've done other shows besides ballet? We know you've appeared in a movie, Tango, that was shown in the U.S.

Bocca: Besides doing all possible dance and musical styles, my concern to try new things [led] me to participate in Carlos Saura's movie Tango. I did a very small role as an actor--just a few words. But I enjoyed doing it very much and I was delighted that it was nominated for the Oscar representing my country. I'm now considering an offer for 2001. It is a thriller. I should ... [be featured as] an Argentine dancer who is very successful abroad and has returned to his country to perform in Teatro Colon. He has to face a series of mysterious murders that are blamed on him. On the one hand it's very exciting--I love thrillers--but at the same time I'm scared because it's an absolute leading role and I do not know if I am really prepared.

H.O.: What did ABT's artistic director say when you told him you were going to do Fosse just before ABT's long season at the Metropolitan Opera House starting May 8? Any comments from your fellow artists?

Bocca: Kevin [McKenzie] didn't object at all. He congratulated me and wished me the best. Luckily I have an excellent relationship not only with him but with all my fellow artists at ABT. Many of them have not seen Fosse, yet they decided to see it once my premiere took place.

Later I asked Chet Walker, who worked closely with Fosse and has an important backstage role in the current musical, about challenges Bocca might face adapting to Fosse technique. "It's the opposite of ballet as far as turn-out goes--in fact it's turned in, but having said that, everything falls into place. The center's the same, and having that ballet training and discipline is the great thing," he said.

Hilary Ostlere, Senior Editor