Sashaying his way from darkness into the spotlight, company member Rodrick Covington appeared on the Stephens Auditorium stage for the opening number of “Fosse.” Although his movements were minimal, his stage presence and energy were phenomenal, and his larger-than-life solo of “Life is Just a Bowl of Cherries” was only a taste of what was yet to come.

Thunderous applause had no sooner ended when an intense entire-company number titled “Fosse’s World” began. Dressed in form-fitting black, 24 young, robust dancers showed the audience just what made Bob Fosse’s style so unique.

Pigeon-toed walking, finger-snapping, hip, wrist, ankle and head circles were highlights of the show. Each number contained these intricate and precise details to complete the famed Fosse bodyline.

“Fosse,” choreographed by Fosse and conceived by Richard Maltby Jr., Chet Walker and Ann Reinking, is a collaboration of all of Bob Fosse’s famous works in his choreographic career.

However, these simplistic, quirky movements were not all that was seen Saturday night. The show was filled with a great deal of precise dance technique. Great leaps, lifts, flips and turns were all choreographed using Fosse’s unique style.

One of the most interesting details of “Fosse” was not the big numbers, but the transitions that pulled them all together. Audience members were kept on the edge of their seats as one piece magically flowed into the next.

The set design, although simple, was unique in itself. It was efficient not only because it doubled as props for the “Fosse” company, but also because of hidden lights that helped make the show shine. The audience dared not blink throughout the entire show for fear they would miss something phenomenal.

The use of choreographed cigarette smoke set the show apart from other musicals. Puffs of the smoke were choreographed into the show, accentuating certain accents and beats in the music.

One of the highlights of the show was “Mein Herr” from the film “Cabaret.” Six dancers strutted their way to center stage carrying black wooden chairs with lights on the bottom. The number had a cool, calm, sexy feel revolving around the usage of the chairs. At the end of the number, the women picked their chairs up and held them above their heads to give each dancer her own spotlight.

The much-anticipated “Mr. Bojangles” number from “Dancin'” was another highlight. The character of Mr. Bojangles, an older man who dreams of his younger years as a dancer, paced center stage as he tried to execute the dance steps that he dreams of doing. Meanwhile, the dreams that he is thinking were performed behind him by his younger, more agile self. The piece made a powerful impact, as the audience saw dreams acted out not only in the emotional sense, but in the physical sense as well.

The high-energy finale, featuring Benny Goodman’s “Sing, Sing, Sing,” was complete with a big-band feel, leaving the audience in a standing ovation begging for more.