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He performed his “Fosse and Niles” act with his first wife, Mary Ann Niles, in DANCE ME A SONG (also a musical song-and-dance revue) which opened January 20th, 1950.ALIVE AND KICKING closed after a mere 46 performances and DANCE ME A SONG closed after only 35. He is known for his work on Gentlemen Prefer Blondes (1953), River of No Return (1954) and Moon Over Miami (1941).
Cole had a back ground in East Indian dancing and styled much of his work after another dancer named Bhaskar.
He was also an avid devotee of American Vernacular dances such as the Charleston and the American Lindy hop.
Did You Know?
He had already appeared in the film Moon Over Miami (1941) and from the mid-40s he created dance routines for films such as Eadie Was A Lady, Cover Girl, Tonight And Every Night (all 1945), The Jolson Story, Tars And Spars, The Thrill Of Brazil (all 1946), and The Merry Widow (1952). He grabbed on to something in her. This production was a musical about three cousins who fight to convert thier inherited Texas ranch into a boarding house for active soldiers' wives.
He quickly joined the Denishawn Company and also performed with the Humphrey-Weidman Group before leaving the modern dance world to pursue a commercial dance career. On COLE: article— Kisselgoff, Anna, "Recalling an Innovator of Film Choreography," in the New York Times , section C, 7 February 1994. He also worked on the 1955 film version of Kismet. As mentor to a number of major dancers, as an innovator of dance movement, and as a filmmaker concerned with the relationship of camera and dance, Jack Cole provided a model for filming dance but often in films that have reputations inferior to his own. His career spanned from the 1920s through the 1950s and he developed a specific method of training theatrical jazz dancers in a style which he called “jazz-ethnic-ballet”. There were some hits, though, and among his Broadway credits between the late 40s and the mid-50s are Magdalena (1948) and Kismet (1953); the latter a show that offered an ideal setting for his interest in eastern-tinged music and dance. The father of theatrical jazz dance Theatrical jazz dance innovator Jack Cole (1911–1974) forever changed the face of theater dance by mixing ethnic movement with jazz—what he dubbed “urban folk dance.” Culling movement from the dance forms of …
His choreography for the New York production of Something For The Boys (1943), with its often blatant sexuality, led to other engagements exploiting his penchant for working to quasi-eastern music and the use of scantily-clad dancers. Alive and Kicking (Jan 17, 1950 - Feb 25, 1950) Performer: Jack Cole ["I Didn't Want Him" Dancer, Abou, "Love It Hurts So Good" Dancer, "Propinquity" Dancer, "Cole Scuttle Blues" Dancer] Other than Monroe, Cole also aided the progress of dancers in the theatre, among them Carol Haney and Gwen Verdon, the latter’s professional relationship with him lasting several years. Jack Cole was born on April 27, 1911 in New Brunswick, New Jersey, USA as John Ewing Richter. Gwen performed in and assisted Jack Cole on ALIVE AND KICKING, a Follies-style musical revue with comedic sketches, songs, and production numbers. Other films include Three For The Show, Gentlemen Marry Brunettes (both 1955), Les Girls (1957) and again with Monroe on Let’s Make Love (1960).Concurrent with his film work, Cole worked on stage productions; frequently his numbers were the best things in otherwise indifferent shows. He enjoyed a close professional relationship with Marilyn Monroe, including crafting her routine for ‘Diamonds Are A Girl’s Best Friend’ in Gentlemen Prefer Blondes (1953). Mr. Cole was the choreographer for the 1944 film Kismet. Credited as one of the primary influences in show business choreography, Jack Cole combined modern dance, jazz, and ethnic—particularly oriental—movement into a unique style that he exploited in a variety of commercial settings. Gifted though he was, in many ways Cole was before his time. Mr. Cole was a great influence on other great dancers we know, such as, Bob Fosse, Jerome Robbins, and Peter Gennaro.Mr.
Jack Cole began as a modern dancer with Ruth St. Denis and Ted Shawn and later Charles Weidman and Doris Humphrey. Working primarily at Columbia, Twentieth Century-Fox, and, occasionally, MGM, Cole provided individual dances in many musical and nonmusical films as well as choreographing all the numbers in a variety of musicals. On COLE: article— Kisselgoff, Anna, "Recalling an Innovator of Film Choreography," in the New York Times , section C, 7 February 1994.