A hip cocks. A shoulder jerks. The fingers fan like a Swiss Army knife that’s nothing but blades. To see a body like this — a congregation of angles kinked in opposition — is to recognize Bob Fosse’s slinky specter. Fosse died in 1987, but he still haunts Broadway, where he won a record eight Tonys for choreography, plus one for direction. He also brought home an Oscar, for “Cabaret,” and three Emmys, for “Liza with a Z.”

“I don’t think it’s possible to do a musical that has dance in it and not have the influence of Fosse,” Thomas Kail said.

Kail, who directed “Hamilton,” is an executive producer on “Fosse/Verdon,” a limited series that debuts on FX April 9. Though based on “Fosse,” Sam Wasson’s exhaustive 2013 biography, the series, as the name implies, twines Fosse’s story with that of Gwen Verdon, his third wife and longtime muse. Sam Rockwell plays Fosse, Michelle Williams is Verdon.

Why the slash? Verdon, a knockout dancer and an unimprovable musical comedian who won four Tonys in six years, was no slouch. (Watch her in “Damn Yankees.” Her slouch is electric.) Fosse often shaped his choreography on her body, which means that she shaped it, too, and she taught it to dancers in turn, even after she and Fosse separated. Her inclusion also suggests a narrative informed by the #MeToo movement, a way to reframe the myth of the lone male auteur, of the man who behaves badly, but still, my God, those steps. If “Fosse/Verdon” succeeds, it could inform how we now tell stories about men like Fosse. Assuming we should tell these stories at all.