Wayne Cilento

On stage 7 productions, 14 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 once12 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. 7 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 on10 works

Wicked
The Who\
Aida
How to Succeed in Business Without Really Trying
Tommy
Footloose
Dream
Holler If Ya Hear Me
The Who’s Tommy
How to Succeed in Business Without Really Trying

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

• WAYNE CILENTO originated the role of Mike Costa in A Chorus Line and starred in Dancin’ . He was the choreographer of Jerry’s Girls , Tommy , and the revival of How to Succeed in Business without Really Trying! , and the choreographer-director of Dream .ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• WAYNE CILENTO: Bob’s roots come out of the Jack Cole and Hermes Pan era. He danced for them in movies. When Gwen and Bob got together, the influence of Jack Cole had to have rubbed off on them.ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• WAYNE CILENTO: Bob taught me that it’s OK to be perfectly still onstage and just move one little portion of your body in an isolated movement.ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• WAYNE CILENTO: When I auditioned for Dancin’ he brought me into this room and had me dance this stylized piece with him and Ann Reinking to the music of “Tea for Two.” He was using that song for all his auditions then.ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• WAYNE CILENTO: I think that the producers and theater owners wanted Bob to do Dancin’ II , but Bob had something else on his mind. He wanted to tell a story through 1930s music. The vision was beautiful, but I don’t know if it was commercial enough. The Sunday before we closed, he won the Tony for best choreography.ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.txt
• WAYNE CILENTO: Michael was more of a choreographer of the whole picture; he wasn’t very specific about the individual steps. I was one of his core of people who would go into rooms and experiment. He would come in and pull all those pieces together into a number. Bob, on the other hand, did everything himself, every single step. He was ve…ebooks/Frommer, Myrna Katz & Frommer, Harvey/It Happened on Broadway_ An Oral History of the Great White Way - Myrna Katz Frommer & Harvey Frommer.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.
• 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 — director, choreographer, actor — 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.