df_m_dancers_2_para_w_chatgpt: 9

This data as json

rowid first_name last_name gender career_sec personal_sec info seed_first_name seed_last_name occupation chatgpt_gen
9 Jerry Hull m Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (née Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden–Adolph Green–Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman–Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show. Bennett was bisexual. He had numerous affairs with both men and women. In his younger days, Bennett had a relationship with Larry Fuller, a dancer, choreographer and director. He had a long professional and personal relationship with the virtuoso dancer Donna McKechnie, who danced his work in both Promises, Promises and Company and won the 1976 Tony Award for Best Actress in a Musical in the role he had created for her in A Chorus Line. They married on December 4, 1976, but after only a few months they separated and eventually divorced in 1979. In the late 1970s he began an affair with Sabine Cassel, the then-wife of French actor Jean-Pierre Cassel. She left her family in Paris to live with Bennett in Manhattan, but the relationship soured. Bennett's addictions to alcohol and drugs, notably cocaine and quaaludes, severely affected his ability to work and affected many of his professional and personal relationships. His paranoia grew as his dependency did. Worried by his celebrity and his father's Italian background, he began to suspect he might fall victim to a Mafia hit. Bennett's last lover was Gene Pruit. In 1986 both Pruit and friend Bob Herr lived with Bennett for the last eight months of his life in Tucson, Arizona, where he received care at the Arizona Medical Center. Bennett died from AIDS-related lymphoma at the age of 44. He left a portion of his estate to fund research to fight the pandemic. Bennett's memorial service took place at the Shubert Theatre in New York City (the home at that time of A Chorus Line) on September 29, 1987. Bennett was born Jerry Bennett DiFiglia in Buffalo, New York, the son of Helen (née Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. Bennett's career as a Broadway dancer began in the 1961 Betty Comden–Adolph Green–Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince. In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman–Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.Bennett was bisexual. He had numerous affairs with both men and women. In his younger days, Bennett had a relationship with Larry Fuller, a dancer, choreographer and director. He had a long professional and personal relationship with the virtuoso dancer Donna McKechnie, who danced his work in both Promises, Promises and Company and won the 1976 Tony Award for Best Actress in a Musical in the role he had created for her in A Chorus Line. They married on December 4, 1976, but after only a few months they separated and eventually divorced in 1979. In the late 1970s he began an affair with Sabine Cassel, the then-wife of French actor Jean-Pierre Cassel. She left her family in Paris to live with Bennett in Manhattan, but the relationship soured. Bennett's addictions to alcohol and drugs, notably cocaine and quaaludes, severely affected his ability to work and affected many of his professional and personal relationships. His paranoia grew as his dependency did. Worried by his celebrity and his father's Italian background, he began to suspect he might fall victim to a Mafia hit. Bennett's last lover was Gene Pruit. In 1986 both Pruit and friend Bob Herr lived with Bennett for the last eight months of his life in Tucson, Arizona, where he received care at the Arizona Medical Center. Bennett died from AIDS-related lymphoma at the age of 44. He left a portion of his estate to fund research to fight the pandemic. Bennett's memorial service took place at the Shubert Theatre in New York City (the home at that time of A Chorus Line) on September 29, 1987. Michael   dancers To Whom It May Concern,<return><return>I am writing to highly recommend Jerry Hull for any dance-related opportunities that may arise. I had the pleasure of working with Jerry during his time as a Broadway dancer and choreographer, and I have no doubt that he would excel in any dance-related position.<return><return>Jerry had an early start in dance, studying choreography in his teens and staging performances in his local high school. He quickly honed his craft and landed roles in West Side Story, Subways Are For Sleeping, and Here's Love, among others. His career hit a turning point when he choreographed Promises, Promises on Broadway, a contemporary pop musical with well-received production numbers, which ran for an impressive 1,281 performances. From there, Jerry continued to receive critical acclaim for his work on productions like Twigs, Coco, Company, and Follies, and even took over as director and choreographer for the musical Seesaw.<return><return>Jerry is a passionate and accomplished dancer, with a keen eye for choreography and a deep understanding of movement. He is able to take even the most complex routines and make them accessible and enjoyable for audiences of all ages and backgrounds. He is a natural leader and is able to guide dancers with ease, inspiring them to reach their full potential.<return><return>In addition to his professional accomplishments, Jerry has a warm and engaging personality, and is highly regarded by his peers. He has a natural ability to connect with others and is known for his boundless energy and infectious enthusiasm.<return><return>I am confident that Jerry would be a valuable addition to any dance-related team, and I highly recommend him without hesitation. If you have any further questions about his abilities or qualifications, please do not hesitate to contact me.<return><return>Sincerely,<return><return>[Your Name]