There are two questions you should probably ask yourself when deciding to attend a performance of the revival of “Dancin” which was originally produced in 1978, when it was nominated for seven TONY awards. First, do you like the choreography of Bob Fosse and second, do you like dance? The first is actually not as important as the second, which can be confirmed when looking at the cover of the Playbill for this show. It displays Bob Fosse’s in rigid, faded, smallish blue letters in a straight line, above the slightly skewed word Dancin’, in large, electric blue letters. There is no doubt that this is truly a tribute to Mr. Fosse with the unmistakable stylized signature movements that may include jazz hands, a slight tip of a hat, staccato pelvic thrusts and contractions, shoulder rolls, high kicks and arm extensions that cut through the air, desperately reaching for nothing or something. It is sexy, sleazy, and glamorous. But make no mistake, this show is all about dancing and this cast delivers.

This reincarnation is based on the original but does make some changes, not to the Fosse choreography but to the content and staging. Major differences are the inclusion of “Big City Mime” which was cut from the original production before it opened on Broadway and songs from the musical Big Deal which Fosse choreographed. These with other minor alterations may change the content, but not the intent. The intoxicating orchestrations by Jim Abbott for the fourteen-member band accentuate the pulse of the evening and complement the movement allowing it to express a kaleidoscope of emotions. Costume design by Reid Bartelme and Harriet Jung are remarkable, from extreme whimsy to ultra risqué and provocative as they hug the dancers’ shapely bodies. Robert Brill creates a scenic design consisting of four rolling scaffold towers that provide versatile scene changes. The Video design by Finn Ross is fine but unfortunately whenever projections appear they obstruct and take focus away from the dancers and mottle the precise, sharp movement.

Then there are the dancers. Superior in every aspect of their craft, producing beauty with movement that is beyond description. Sultry, sensuous, powerful, precise, articulate, athletic, bold, and beautiful just begins to describe their presence and execution. There is no star here because they all know that dancing is the star, and they make that star shine bright. The “Mr. Bojangles” number is hauntingly spiritual, almost resembling a solemn invocation, with sleek Yeman Brown and shady Jacob Guzman dancing to the lyrics sung by a sincere Manual Herrera. “Sing, Sing, Sing” opens the second Act with the entire company in perfect form with extreme energy and passionate enthusiasm. Kolton Krouse is more like a vulture in the domineering number “Spring Chicken”, when the high kicks are the weapon of choice and with any victim certain to fall prey to the slinky, silky, savvy movements accomplished by partnering with a bar room chair. In addition to the phenomenal dancing, there is the Broadway belt of Khori Michelle Petinaud that should be mentioned for her rendition of “Life Is Just a Bowl of Cherries” which is one of the highlights of the “Big Deal” sequence. The entire cast is a group of incredible, tireless, supportive, and giving dancers who have the capability of telling stories, not with words but with their strong, expressive, pliable bodies as the means of communication.

No, this is not the original “Dancin” nor is it the same interpretation Mr. Fosse used to showcase his work, but it pays homage to the iconic dancer, by stating that his stylistic choreography is timeless, and has the integrity to be introduced to new and future generations of dancers. Director Wayne Cilento who had the opportunity to work with Mr. Fosse in the original “Dancin” has staged this incarnation to reflect the current theater environment and sociopolitical landscape. It speaks volumes, which is exactly what Mr. Fosse had intended when he imagined a Broadway show without a book or new score allowing the dancers to dance the story.