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Christopher Chadman
Christopher Chadman
Christopher Chadman
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Christopher Chadman (born circa 1948 – April 30, 1995) was an American dancer and choreographer who was nominated for Tony, Drama Desk, and Outer Critics Circle Awards and was the winner of the Fred Astaire Award for his choreography for the 1992 revival of Guys and Dolls.

Born in the Bronx, Chadman studied at the High School of Performing Arts and made his Broadway debut in 1968 in the ensemble of Darling of the Day, then went on to perform in Applause, The Rothschilds, Pippin, A Chorus Line, and Rockabye Hamlet. He was elevated to star billing when he played the title role in the 1976 revival of Pal Joey. Much of the role of "Greg" in A Chorus Line was based on his life experiences.[1]

Chadman collaborated with Bob Fosse on Chicago, Dancin', and Big Deal. On his own he choreographed Merlin, a nightclub act for Chita Rivera, Peter Allen and The Rockettes at Radio City Music Hall, and a New York City Center concert version of Fiorello!, conceived and staged three concerts for Michael Feinstein, and created dance sequences for The Sisters Rosensweig.

Chadman's film credits include The Flamingo Kid, The Muppets Take Manhattan, and Scenes from a Mall.

Chadman died of complications from AIDS in New York City.[2]

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Christopher Chadman

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Christopher Chadman is an American dancer and choreographer known for his extensive contributions to Broadway theater as both a performer and a creative force behind several notable musical productions. Born in New York City in 1948, he trained at the High School of Performing Arts and made his Broadway debut as a dancer in Darling of the Day in 1968. He went on to appear in original casts of shows including Pippin (1972), Chicago (1975), Rockabye Hamlet (1976), and Dancin' (1978), where he also served as dance captain and contributed additional choreography. Chadman assisted legendary choreographer Bob Fosse on Pippin, Chicago, and Big Deal (1986), and he took on significant creative roles in other projects, such as co-choreographing Merlin (1983) and staging cabaret and concert works for artists including Michael Feinstein. His most celebrated achievement came with the choreography for the 1992 Broadway revival of Guys and Dolls, which earned him nominations for the Tony Award, Drama Desk Award, and Outer Critics Circle Award for Best Choreography, as well as the Fred Astaire Award. Chadman died of AIDS on April 30, 1995, at the age of 47 in Manhattan. His work left a lasting impact on musical theater through his versatile performances and innovative choreography.

Early life

Birth and background

Christopher Chadman was born in 1948 in the Bronx, New York City. His birth name was Kenneth Alan Brown, and he grew up near Yankee Stadium in the Bronx. He was the son of Gertrude and Sidney Brown and had an older brother, Dr. Harvey Brown. Sources provide no further details on his early family life or childhood events beyond his birthplace and immediate family in the archived papers. Chadman showed an early interest in dance from a young age, beginning at age 8 when he imitated Fred Astaire and performed on amateur nights in the Bronx.

Dance training and early influences

Christopher Chadman trained at the High School of Performing Arts in New York City. This performing arts high school provided his foundational dance education during his youth, equipping him with the technical skills that supported his transition to professional dance. No specific details about individual teachers, additional training programs, or particular stylistic influences from this period are documented in available sources.

Career

Early dancing roles

Christopher Chadman began his Broadway career as a dancer and performer in the late 1960s. His debut came in 1968 with the musical Darling of the Day, where he appeared as a dancer in the original production at the George Abbott Theatre. The following year, he performed as Potter in Billy at the Billy Rose Theatre and as a dancer in Jimmy at the Winter Garden Theatre. In 1970, Chadman took on replacement roles as Duane Fox and dancer in Applause at the Palace Theatre, and he appeared in the ensemble as a Peasant in the original production of The Rothschilds at the Lunt-Fontanne Theatre. He gained a featured role as Lewis in the original 1972 production of Pippin at the Imperial Theatre. During the mid-1970s, Chadman originated the role of Fred Casely in Chicago in 1975 at the 46th Street Theatre and later replaced as Bobby in A Chorus Line at the Sam S. Shubert Theatre. His subsequent performing work included Rosencrantz in Rockabye Hamlet in 1976 at the Minskoff Theatre and the leading role of Joey Evans in the 1976 production of Pal Joey at Circle in the Square Theatre. In 1978, he appeared as a performer in Dancin' at the Broadhurst Theatre. These early roles highlighted his range as a dancer and actor in Broadway musical theater during the late 1960s and 1970s.

Collaboration with Bob Fosse

Christopher Chadman developed a long-term professional collaboration with Bob Fosse, assisting him on several Broadway productions over more than a decade. He assisted Fosse on the musicals Pippin (1972) and Chicago (1975). Chadman reteamed with Fosse for the 1978 revue Dancin', where he received credit as assistant to Mr. Fosse and for additional choreography while also performing as a principal dancer and singer. In Fosse's 1986 musical Big Deal, Chadman served as associate choreographer. This extended association with Fosse represented a key phase in Chadman's career as he worked closely under one of Broadway's most influential directors and choreographers.

Independent choreography on Broadway

Christopher Chadman took on independent choreography roles on Broadway, beginning with co-choreographing Merlin (1983). His debut as lead choreographer came with the 1992 Broadway revival of Guys and Dolls, which opened at the Martin Beck Theatre. This production earned him nominations for the Tony Award, Drama Desk Award, and Outer Critics Circle Award for Best Choreography, as well as the Fred Astaire Award. He subsequently choreographed the original musical The Goodbye Girl, which opened at the Marquis Theatre on March 4, 1993. Chadman created the dances for this Neil Simon adaptation featuring music by Marvin Hamlisch and lyrics by David Zippel. Chadman next served as choreographer for the 1994 Broadway revival of Damn Yankees, which opened at the Marquis Theatre on March 3, 1994. This production featured his choreography for a cast led by Victor Garber and Bebe Neuwirth. Chadman's work on Damn Yankees earned him a nomination for the Drama Desk Award for Outstanding Choreography. These productions represent Chadman's major credited choreography roles on Broadway.

Notable productions

Additional credits and contributions

Chadman extended his choreography expertise beyond Broadway into cabaret, concert staging, film, television, and off-Broadway work. He choreographed and directed the cabaret revue Dancing in the Dark, a celebration of Arthur Schwartz's songs, presented at the Manhattan Theatre Club in 1979. He also created choreography for a production featuring Peter Allen and the Rockettes at Radio City Music Hall. In the concert realm, Chadman served as director of staging and production supervisor for Michael Feinstein's Broadway engagements, including Michael Feinstein in Concert in 1988 and Michael Feinstein in Concert: Piano and Voice in 1990. He staged a dance sequence for the 1993 Broadway production of The Sisters Rosensweig. Chadman's film and television contributions included choreography for The Muppets Take Manhattan in 1984, Scenes from a Mall in 1991, and the television special A Special Sesame Street Christmas in 1978. He also choreographed the Off-Broadway production of Fiorello! in 1994. He participated in various touring and regional theater productions throughout his career, though specific titles remain less documented in major sources.

Personal life and death

Personal life

Christopher Chadman was born in 1948 in the Bronx, New York. He resided in Manhattan for much of his adult life. His family included his parents, Gertrude and Sidney Brown, and his brother, Dr. Harvey Brown, who lived in Los Angeles. Little additional public information is available about his personal relationships, interests, or private life beyond his deep involvement in the New York theater community during the 1990s.

Illness and death

Christopher Chadman died on April 30, 1995, at Lenox Hill Hospital in Manhattan at the age of 47. The cause of death was AIDS, according to his agent Gilbert Parker of the William Morris Agency. He had resided in Manhattan.

Legacy

Impact on musical theater choreography

Christopher Chadman's choreography was profoundly shaped by his close mentorship and long-term collaboration with Bob Fosse, whose distinctive style he internalized and carried forward in his own work. He assisted Fosse on key productions including Pippin, Chicago, and Big Deal, and described understanding Fosse's choreography on a "gut level," often feeling Fosse's guiding presence during his creative process. Chadman was notably protective of Fosse's legacy and drew upon this influence to develop his approach to musical theater dance. His independent choreography in the 1990s exemplified this transmission of Fosse-inspired techniques, blending precise, stylized movement with narrative drive suited to each production. For the 1992 Broadway revival of Guys and Dolls, Chadman created swift and captivating dance sequences that refreshed the classic material, earning him nominations for the Tony Award, Drama Desk Award, and Outer Critics Circle Award for Best Choreography, as well as winning the Fred Astaire Award. He also contributed to reconstructing Fosse's work on the 1985–1986 Broadway revival of Sweet Charity, assisting Bob Fosse and Gwen Verdon in preserving the original choreography. Following his death in 1995, Chadman's contributions to musical theater choreography have been preserved through the Christopher Chadman papers at the New York Public Library for the Performing Arts. The collection includes scripts, notes, and stage diagrams from his productions, offering valuable insight into his methods and his role in extending Fosse's stylistic influence into the late 20th century.
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