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Ron Field

Legend of Dance

1930s

Why They Matter

Field’s work demonstrates the power of choreography to create a production’s point of view. In Cabaret, performance inside the club is not detachable entertainment; it comments on the story and implicates the audience. In Applause, he unified direction and choreography into a fast-moving vehicle…

Biography

Ron Field was an American director, choreographer and musical director who shaped Broadway spectacle in the late 1960s and 1970s. Born in New York City on October 18, 1933, Field entered Broadway as a child performer in *Lady in the Dark* in 1941, followed by ensemble roles in *Gentlemen Prefer Blondes*, *Kismet* and *The Boy Friend*. That long apprenticeship in commercial theatre gave him a performer's understanding of how choreography must be readable, repeatable and dramatically timed.

Field's breakthrough came as choreographer on Harold Prince's 1966 production of *Cabaret*, where he staged the dances and cabaret numbers that established the Kit Kat Klub as a dramatic counterpoint to the narrative outside it. He won the 1967 Tony Award for choreography. After receiving a Tony nomination for *Zorba*, Field directed and choreographed *Applause* in 1970, starring Lauren Bacall. The production earned him Tony Awards for both choreography and direction of a musical, along with Drama Desk recognition, demonstrating that he could shape an entire musical's pace and viewpoint.

Field's work extended beyond Broadway into television, film and large-scale spectacle. He staged television projects featuring Ben Vereen and Mikhail Baryshnikov, earning Emmy Awards for choreography in the late 1970s. He choreographed Martin Scorsese's *New York, New York* and contributed choreography to the opening ceremonies of the 1984 Los Angeles Olympic Games. His later Broadway credits included the 1987 revival of *Cabaret*, *King of Hearts* and *Rags*, which earned him a 1987 Tony nomination.

Field died in New York on February 6, 1989, at age fifty-five. The Ronald Field papers at the New York Public Library preserve scripts, scores, notes and production materials that document his creative process.

Career Highlights

1941

Made a Broadway debut as a child performer in Lady in the Dark, according to reference histories. Source: Ron Field biography. Ron Field biography

1949

Performed in the Broadway ensemble of Gentlemen Prefer Blondes. Source: Ron Field biography. Ron Field biography

1962

Received an early Broadway choreography credit for Nowhere to Go But Up. Source: Ron Field biography. Ron Field biography

1966

Staged the dances and cabaret numbers for the original Broadway production of Cabaret. Source: Ovrtur production chronology. Ovrtur production chronology

1967

Won the Tony Award for choreography for Cabaret. Sources: Tony Awards; NYPL. Tony Awards

1968

Choreographed Zorba, earning a 1969 Tony nomination. Sources: Ovrtur; Los Angeles Times. Ovrtur

1970

Directed and choreographed Applause, winning Tony Awards for both direction and choreography. Sources: Tony Awards; NYPL. Tony Awards

1971

Directed and choreographed the Broadway revival of On the Town. Source: Ovrtur. Ovrtur

1977–1978

Won Emmy Awards for television choreography, including programs honoring Richard Rodgers and featuring Ben Vereen. Sources: Los Angeles Times obituary; Ron Field biography. Los Angeles Times obituary

1984

Contributed choreography to the opening ceremonies of the Los Angeles Olympic Games. Source: Los Angeles Times obituary. Los Angeles Times obituary

1986

Choreographed Rags and received a 1987 Tony nomination. Sources: Playbill; Los Angeles Times. Playbill

1987

Returned to Cabaret for its Broadway revival. Sources: Playbill; Ovrtur. Playbill

Legacy & Impact

Field's work demonstrates how choreography shapes a production's entire point of view. In *Cabaret*, performance inside the club comments on the narrative and implicates the audience rather than serving as detachable entertainment. In *Applause*, he unified direction and choreography into a fast-moving vehicle for a star while mobilizing an ensemble. His career across Broadway, television, film and civic spectacle shows how theatrical movement language translates across different scales and media.

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