Question: On the Riviera was choreographed by the man known as what?

full_context: Document 1: Music Circus: Actor and adventurer St. John Terrell was born in Chicago, Illinois. He started in show business with a carnival act and later starred on the radio show "Jack Armstrong, All American Boy". Referred to as "Sinjun", he served in the Philippines with the USO. When a visiting touring company of an Irving Berlin musical needed performing space, Terrell suggested bulldozing a large pit for a stage in the center and audience on sloping and rising seating all around covered by a tent. This became the genesis to his original New Jersey Music Circus in 1949. Although rejected by the USO, he used his back pay, war bonds and loans after the war, to do it himself. Inspired by Greek amphitheaters, audience members sat in folding chairs no further back than 15 or 16 rows. Although a full orchestra was used, the sets were simple and low to keep sight lines clear. Props were carried on and off by stagehands, in clear view, running up and down aisles. Within 8 years, 30 separate canvas-topped theatres had opened in the US.
Document 2: Jack Cole (choreographer): Jack Cole (April 27, 1911 in New Brunswick, New Jersey – February 17, 1974 in Los Angeles, California) was an American dancer, choreographer, and theatre director known as "the Father of Theatrical Jazz Dance".
Document 3: Sweet Charity: Sweet Charity is a musical with music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon. It was directed and choreographed for Broadway by Bob Fosse starring his wife and muse Gwen Verdon alongside John McMartin. It is based on Federico Fellini's screenplay for "Nights of Cabiria". However, where Fellini's black-and-white Italian film concerns the romantic ups-and-downs of an ever-hopeful dance hall hostess, in the musical the central character is a dancer-for-hire at a Times Square dance hall. The musical premiered on Broadway in 1966, where it was nominated for 9 Tony Awards, and also ran in the West End as well as having revivals and international productions.
Document 4: On the Riviera: On the Riviera is a 1951 musical comedy film made by 20th Century Fox. It was directed by Walter Lang, produced by Sol C. Siegel from a screenplay by Valentine Davies and Phoebe and Henry Ephron, based on the play "The Red Cat" by Rudolph Lothar and Hans Adler. This version stars Danny Kaye, Gene Tierney and Corinne Calvet with Marcel Dalio, Henri Letondal and Sig Ruman, and with uncredited featured dancer Gwen Verdon in dance sequences choreographed and staged by Jack Cole.
Document 5: Jerome Robbins: Jerome Robbins (October 11, 1918 – July 29, 1998) was an American choreographer, director, dancer, and theater producer who worked in classical ballet, on Broadway, and in films and television. Among his numerous stage productions he worked on were "On the Town", "Peter Pan", "High Button Shoes", "The King And I", "The Pajama Game", "Bells Are Ringing", "West Side Story", "", and "Fiddler on the Roof"; Robbins was a five time Tony Award winner and a recipient of the Kennedy Center Honors. He received two Academy Awards, including the 1961 Academy Award for Best Director with Robert Wise for "West Side Story". A documentary about his life and work, "Something to Dance About", featuring excerpts from his journals, archival performance and rehearsal footage, and interviews with Robbins and his colleagues, premiered on PBS in 2009 and won both an Emmy and a Peabody Award the same year.
Document 6: Union Jack (ballet): Union Jack is a ballet made by New York City Ballet co-founder and founding choreographer George Balanchine to traditional British tunes, hornpipe melodies and music-hall songs, ca. 1890–1914, adapted by Hershy Kay. The premiere took place on 13 May 1976, at the New York State Theater, Lincoln Center, to honor British heritage in the United States its bicentennial with costumes by Rouben Ter-Arutunian, original lighting by Ronald Bates and current lighting by Mark Stanley. At the finale the ensemble spells out "God Save the Queen" in semaphore code and the Union Jack unfurls. Principal dancer Jock Soto included an excerpt from "Union Jack" in his farewell performance in June 2005.
Document 7: List of Judson Dance Theater performers: Judson Dance Theater was an informal group of dancers who performed at the Judson Memorial Church in Greenwich Village, Manhattan New York City between 1962 and 1964. It grew out of a dance composition class taught by Robert Dunn, a musician who had studied with John Cage. The artists involved were "avant garde" experimentalists who rejected the confines of Modern dance practice and theory, inventing as they did the precepts of Postmodern dance.
Document 8: Ze'eva Cohen: Ze'eva Cohen is a dancer, modern dance choreographer, and dance professor emeritus at Princeton University. Cohen grew up in Tel Aviv, Israel, the daughter of Yemeni immigrants. She traveled to New York City from Israel in 1963 to study at the Juilliard School and perform with the Anna Sokolow Dance Company. She danced with the company for ten years. Cohen was also a founding member of Dance Theater Workshop, where she worked as a choreographer and dancer from the mid-sixties to the early seventies. She has created a body of choreographic work which links her background in American modern dance with her Yemenite Jewish heritage.
Document 9: Judson Dance Theater: Judson Dance Theater was a collective of dancers, composers, and visual artists who performed at the Judson Memorial Church in Greenwich Village, Manhattan New York City between 1962 and 1964. It grew out of a composition class taught by Robert Dunn, a musician who had studied with John Cage. The artists involved were "avant garde" experimentalists who rejected the confines of Modern dance practice and theory, inventing as they did the precepts of Postmodern dance. Yvonne Rainer's 'No Manifesto' - (to which she rejects any confines to technique, thrill, spectacle, glamour, or assumed space) came out of this movement as a way to state what the Judson Dance Theater wanted; a way to convey the beauty of ordinary movement and the pureness of dance/performance art. It was a place for collaboration between artists in various fields such as, dancers, writers, filmmakers, composers, etc. Their goal in this collaboration was to observe dance in its purist form. This resulted in the elimination of many theatrical elements like plots and storylines, elaborate costumes and scenery, and even formal dance technique. The group constantly redefined itself by these collaborative efforts.
Document 10: Rio Rita (1942 film): Rio Rita is a 1942 comedy film starring Abbott and Costello. It was based upon the 1927 Flo Ziegfeld Broadway musical, which was previously made into a 1929 film also titled "Rio Rita" that starred the comedy team of Wheeler & Woolsey. Kathryn Grayson (in her first starring picture) and John Carroll replace the 1929 version's Bebe Daniels and John Boles.
Document 11: The Kid from Brooklyn: The Kid from Brooklyn is a 1946 American musical comedy film directed by Norman Z. McLeod and starring Danny Kaye, Virginia Mayo, Vera-Ellen, Steve Cochran, Walter Abel, Eve Arden, and Fay Bainter. Virginia Mayo's and Vera-Ellen's singing voices were dubbed by Betty Russell and Dorothy Ellers, respectively,
Document 12: On the Twentieth Century: On the Twentieth Century is a musical with book and lyrics by Betty Comden and Adolph Green and music by Cy Coleman. Based partly on the 1930s film and play of the same name, the musical is part operetta, part farce and part screwball comedy. The story involves the behind-the-scenes relationship between Lily, a temperamental actress and Oscar, a bankrupt theatre producer. On a luxury train traveling from Chicago to New York in the 1920s, Oscar tries to cajole the glamorous Hollywood star into playing the lead in his new, but not-yet-written drama, and perhaps to rekindle their romance.
Document 13: Jacques d'Amboise (dancer): Jacques d'Amboise (born July 28, 1934) is an American danseur and choreographer.
Document 14: Funny Face: Funny Face is a 1957 American musical romantic comedy film directed by Stanley Donen and written by Leonard Gershe, containing assorted songs by George and Ira Gershwin. Although having the same title as the 1927 Broadway musical "Funny Face" by the Gershwin brothers, and featuring the same male star (Fred Astaire), the plot is totally different and only four of the songs from the stage musical are included. Alongside Astaire, the film stars Audrey Hepburn and Kay Thompson.
Document 15: Magdalena: a Musical Adventure: "Magdalena" premiered at the Los Angeles Civic Light Opera on 26 July 1948, pursuant to a commission from Edwin Lester, president of that organization. Arthur Kay conducted Irra Petina, Dorothy Sarnoff, John Raitt, Hugo Haas, Gerhard Pechner, A. Garcia, Melva Niles, Henry Reese, Ferdinand Hilt, J. Arthur, Betty Huff, Christine Matsios, Leonard Morganthaler, John Schickling, Lorraine Miller, Gene Curtsinger, Patrick Kirk, Betty Brusher, and Jack Cole (soloists). Jules Dassin directed, Jack Cole was the choreographer, and the chorus was prepared by Robert Zeller. Broadway veterans Howard Bay (settings and lighting) and Irene Sharaff (costumes) were also part of the creative team. It was also presented in San Francisco at the Curran Theatre (San Francisco Light Opera) for several performances beginning August 16, 1948. The same production opened in New York City at the Ziegfeld Theatre on September 20, 1948, and closed on December 4 after 88 performances. Raitt, Sarnoff, and Haas reprised their roles. No recording was made due to a strike. "Magdalena" was revived in concert form under conductor Evans Haile on November 24, 1987, at Alice Tully Hall in New York's Lincoln Center; a recording with a slightly different cast was made in RCA's studios in 1988 and issued by CBS (later Sony) in 1989 (ASIN: B0000026QF). The work was performed in Australia in the 1990s as part of the Opera Festival in Ballarat, Victoria, again under Haile. More recently the Théâtre du Châtelet in Paris announced a production to open in May 2010, with Kate Whoriskey directing and Warren Adams supplying choreography.
ground_truth: the Father of Theatrical Jazz Dance