Gwen Verdon

Gwyneth Evelyn "Gwen" Verdon was an American actress and dancer. She won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer's assistant and specialty dance coach for theater and film. With flaming red hair and a quaver in her voice, Verdon was a critically acclaimed performer on Broadway from the 1950s-70s. Having originated many roles in musicals she is also strongly identified with her second husband, director–choreographer Bob Fosse, remembered as the dancer–collaborator–muse for whom he choreographed much of his work and as the guardian of his legacy after his death.

By the time she was six, she was already dancing on stage. She went on to study multiple dance forms, ranging from tap, jazz, ballroom and flamenco to Balinese. In 1942, Verdon’s parents asked her to marry family friend and tabloid reporter James Henaghan after he got her pregnant at 17, and she quit her dancing career to raise their child. After her divorce, she entrusted her son Jimmy to the care of her parents. Early on, Verdon found a job as assistant to choreographer Jack Cole. During her five-year employment with Cole, she took small roles in movie musicals as a "specialty dancer" She also taught dance to stars such as Jane Russell, Fernando Lamas, and Lana Turner. Verdon started out on Broadway as a "gypsy," going from one chorus line to another. Her breakthrough role finally came as second female lead in Cole Porter's musical Can-Can. Verdon's biggest success was George Abbott's Damn Yankees. Verdon won another Tony and went to Hollywood to repeat her role in the 1958 movie version Damn Yankees. Verdon won another Tony for her performance in the musical, New Girl in Town, and won her fourth Tony for Redhead. Verdon and Fosse continued to collaborate on projects such as musicals Chicago and Dancin', as well as All That Jazz. After originating the role of Roxie opposite Chita Rivera's Velma Kelly in Chicago, Verdon focused on film acting, playing character roles in movies such as The Cotton Club, Cocoon and its sequel. She continued to teach dance and musical theater and to act. She received three Emmy Award nominations for appearances on Magnum, P.I., Dream On, and Homicide: Life on the Street. Verdon appeared in Alice and Marvin's Room). In 1999, Verdon served as artistic consultant on a Broadway musical designed to showcase examples of classic Fosse choreography, called Fosse. which won a Tony Award for best musical.

Verdon appeared in the movie Walking Across Egypt, as well as Bruno. Verdon received a total of four Tonys, for best featured actress for Can-Can and best leading actress for Damn Yankees, New Girl in Town, and Redhead. She also won a Grammy Award for the cast recording of Redhead.

Verdon was inducted into the American Theater Hall of Fame in 1981, and in 1998, she was awarded the National Medal of Arts.

Organised, caring and driven by duty the ESFJ personality type loves to contribute and remain constantly valued, productive, busy and liked. The ESFJ has an action-orientation that they will channel into people, helping and finding practical solutions to people issues and they'll work hard at making this happen as they are naturally oriented to the needs of those around them. Whilst the ESFJ wants everyone to feel valued, they will also want to feel part of the group themselves - they need to feel included. If someone is hurting, the ESFJ will be the first to respond.

The ESFJ character shares the same action-orientation of the ESTJ but with a people-based focus, they channel their drive, energy and practical nature into helping people. Driven by a sense of duty they are the cooperative, helpful, sympathetic and personable pragmatists, disliking anything ethereal or woolly as they prefer practical solutions to people issues, and they'll work hard at making this happen. Unlike the ESFP the ESFJ will want a plan and closure, they do not like loose ends or anything they perceive as sloppy or messy. As with most 'S's, they prefer the concrete, inhabiting a world of facts and the ‘here and now.’ Asking an ESFJ to sit and think things through or reflect before ‘doing’ is not easy as their natural propensity is for action; thinking is seen as a passive and useless activity. This means they will jump immediately into ‘sorting it all out,’ when at times if they’d taken a little longer to think they may have come up with a better solution. Organised, caring and driven by the known, routine comes naturally to the ESFJ who fear change as it is drags them out of the place where they feel they are strong and where they can contribute.

Conscientious and caring, the ESFJ will be good at follow-through and making sure the routine is taken care of, but may struggle with anything which appears complex, or which is perceived as not clearly getting the intended result or which causes conflict or disharmony. They value family links, friendships and tend to be slightly sentimental in their approach. Under pressure an ESFJ may become like the 'controlling parent,' smothering others in their attempt to provide support and believing that their way is best, becoming sensitive to any perceived criticism. Their values of ‘doing good’ and working hard to make sure things and people are taken care of are at the core of the ESFJ although they may at times try to instil these parental-style values in others, often using parental type words like "should," "ought" and "must." These are all said with a good heart and desire to help but the subjective nature of the ESFJ means that they may almost impose what they think is best in their desire for immediate practical help.

Being ‘F’s ESFJs may have trouble making more logical and factual decisions so driven are they by their values and wishing to maintain harmony, so their decisions will be primarily driven by the needs of those around them especially those close to them whom they feel a duty to ‘care for.’ Everything for the ESFJ becomes personalised and will be filtered through a more subjective ‘how do I feel about this person’ lens, rather than being objective and logical as a logical approach for the ESFJ is equated with being cold and harsh thus negating being helpful which is at the core of the ESFJ being. After a day interviewing I asked my ESFJ secretary to tell the successful candidate he’d got the job. “Was he the nicest?” she asked, “Did you like him best?" No issue of ‘suitability’ even crossed her mind! They tend also to have more of a ‘gate-post,’ binary mentality, seeing things in very black and white, ‘good or bad,’ ‘right or wrong,’ ‘nice or horrible.’ Being driven by feelings can also mean that the ESFJ gets hurt easily by any perceived or real criticism as everything is taken so personally, so factually and they can dwell on such criticism. Anything which appears complex or which has many shades of grey will be dismissed as it doesn’t conform to the ‘natural laws’ of ‘ESFJ common sense.’ They’ll want to jump in and help, which is why they were, according to their own values, ‘put on this earth.’