Michael Bennett

On stage 3 productions, 3 years

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Worked with more than once5 names

Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 5 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.

Also credited on8 works

A Chorus Line
Follies
Dreamgirls
Company
Seesaw
Promises, Promises
Ballroom
Coco

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• When Enchanted Evenings appeared in 1997, Lloyd Webber’s Cats , directed by Trevor Nunn, was on the verge of surpassing Michael Bennett and Marvin Hamlisch’s A Chorus Line as Broadway’s longest running show, and Phantom stood in fourth place behind the then still running Les Misérables, Cats , and A Chorus Line on the all-time Broadway Hi…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• Mandelbaum, Ken. “A Chorus Line” and the Musicals of Michael Bennett . New York: St. Martin’s, 1989.ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• ‡ Sondheim mentions a predecessor to “Beautiful Girls” called “Bring on the Girls” that Michael Bennett asked him to change when he “joined the show.” See Mandelbaum, “A Chorus Line,” 71.ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• Michael Bennett and Bob Avian continued working with the dancers through the week. From what I could see, it looked as if the main body of the complicated dances had been worked out ahead of time, but the choreography would change as the steps were being taught. The constant seemed to be “Who’s That Woman?”—partly, I realized, because Mic…ebooks/Chapin, Ted/Everything Was Possible_ The Birth of the Musical Follies (Applause Books) - Ted Chapin.txt
• Michael Bennett went back to New York; he had decided to take a couple of days off and was scheduled to return on Saturday.ebooks/Chapin, Ted/Everything Was Possible_ The Birth of the Musical Follies (Applause Books) - Ted Chapin.txt
• The dance music for “Lucy and Jessie” was pretty much finished, and clustered around the piano were John Berkman, Jonathan Tunick, Hal Hastings, Michael Bennett, and Paul Gemignani. Berkman played it while Michael marked his way through. Before passing it on to Jonathan to orchestrate, Michael wanted to go through it with his dancers. It…ebooks/Chapin, Ted/Everything Was Possible_ The Birth of the Musical Follies (Applause Books) - Ted Chapin.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Birth or death year. Neither is on the record.
• Any portrait. 1,626 of 7,139 people have one, so this is the usual case rather than the exception.
• Which of the credits above the roles on this record — book writer, director, choreographer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.