On Sunday night, Hillary Clinton, fresh from attending the opening night of “Bob Fosse’s Dancin’” on Broadway at the Music Box Theater, swept into the Rosevale Cocktail Room at the Civilian Hotel on West 48th Street.
As candles flickered on tables, with miniature models from productions like “Hadestown” and “Dear Evan Hansen” displayed on a back wall, a few dozen guests at the private after-party sipped glasses of white wine from the bar. Mrs. Clinton mingled among guests including David Rockwell, the architect and Tony Award-winning show designer who designed the hotel; the actress Jane Krakowski; Huma Abedin, Mrs. Clinton’s longtime aide; and the “Dancin’” director, Wayne Cilento.
“I loved it,” she told Mr. Cilento, who also danced in the original 1978 production of the show. “The dancers were so charismatic and magnetic. That energy was so needed.”
So when asked to consider the idea that a touring production of the latter show, in which two men dress as women to escape the mob, could be banned from playing in a state like Tennessee, which recently passed a law limiting “cabaret” shows, part of a wave of legislation across the country by conservative lawmakers against drag performances, Mrs. Clinton’s reaction was clear.
“It’s a very sad commentary on what people think is important in our country,” Mrs. Clinton said. “I hope that it goes the way of the dinosaur because people will recognize that it’s just a political stunt.”
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The range of shows that could potentially be banned under such legislation — such as Shakespeare plays, in which a number of characters cross-dress; “Hairspray,” the popular musical in which the protagonist’s mother is usually played by a man in a dress; and “1776,” whose current touring company features an all-female, trans and nonbinary cast, was, she said, “absurd.”
“I guess they’re going to shut the state borders to anything that is Shakespearean?” she said. “Are we going to stop exporting any kind of entertainment?”
At around 9:10 p.m., Mrs. Clinton departed the party. Some guests followed her lead, while others moved upstairs to the Starchild Rooftop Bar & Lounge on the 27th floor, where Nicole Fosse — the daughter of the director-choreographer Bob Fosse and the actress Gwen Verndon — and Mr. Cilento, the director, were hosting a second party for the show’s creative team and cast of 22 dancers.
The dancer Karli Dinardo wore a sleeveless silver gown with cutouts by the Australian designer Portia and Scarlett, while Yeman Brown donned a green Who Decides War cathedral sweatshirt with cutouts across the front. They sipped “Dancin’ Man” mocktails — roots divino bianco, cucumber, pink peppercorn and lemon-lime soda — and munched on “Fosse’s Breakfast” (granola) and shrimp cocktails furnished by waiters on silver platters. (For those with less highbrow tastes, there were also bags of M&M’s by the bar with the dancers’ names printed on them.)
Kolton Krouse, a nonbinary dancer in the production whose face-slapping kicks earned a shout-out from the New York Times critic Jesse Green in his review, wore an asymmetrical black dress, gold heels, glittering gold eye shadow and bright red lipstick.
“I wanted to do a modern take on Ann Reinking’s original trumpet solo dress,” they said of their sparkling one-shoulder gown.
Mx. Krouse, who is among a cast of dancers that is noticeably more diverse in age, ethnicity, body type and gender presentation than a typical Fosse cast, said the best part of the new production was that “we can all be ourselves while we’re doing it.”
Mr. Cilento said he purposefully sought a more diverse cast for the revival.
“I did a very eclectic, really exciting group of dancers because I felt like you had to embrace the whole culture and not just make it, you know, white bread,” he said.
Mx. Krouse, who leads the number “Spring Chicken” in the show, said: “It’s weird doing a show where I can be me, and it’s OK.”
Quick Question is a collection of dispatches from red carpets, gala dinners and other events that coax celebrities out of hiding.