A CHORUS LINE
A CHORUS LINE, conceived, originally choreographed, and directed by Michael Bennett, features a book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban. Baayork Lee re-stages the original choreography. Curran Theatre Box Office (445 Geary between Taylor and Mason, Mon-Sat Noon –
There was great excitement and anticipation in the enthusiastic patrons crowding the sidewalk and lobby waiting to see A Chorus Line. The show that is presently playing on Broadway started its journey here in 2006 and one wonders whether
It was 16 years ago when A CHORUS LINE transferred to Broadway winning nine Tony Awards and the Pulitzer Prize for Drama. Along with the Tony Award for Best Musical, Score and Book, it won the New York Drama Critics Circle Award finally closing in 1990 after 6,137 performances. This National Tour wisely maintains the original choreography, staging, and all the cast are excellent dancers and most are great singers. The problem is individual performers do not project the necessary charisma to satisfy our nostalgic yearnings but there are many thrills throughout the two hours, without intermission, as we expectantly await the glittering finale with the cast discarding rehearsal clothes, donning spangled gold costumes, dancing up a storm before the elegant mirrors as the sing they toe tapping song “One.”
On the bare stage of a Broadway theatre, director/choreographer Zach (fine performance from Michael Grubber) is holding auditions where 17 “gypsies” (dancers) complete for eight spots. The ensemble is put through their paces with the “five, six, seven, eight” tempo beating in their ears before the plaintive “I Hope I Get It.” Inexplicably Zach wants to know who they are and he interviews each about their backgrounds. The unfolding of their stories expresses their individual deep needs with the refrain “I Need this Job” being repeated as they have misgivings about baring their past. First up is Mike (charming Clyde Alves) with “I Can Do That” as he tells of replacing his sister in dancing school at age five.
As Zach continues down the line a trio of the girls led by Shelia (sexy statuesque Emily Fletcher) express the desires engendered “At the Ballet.” Attempt at broad humor does not materialize with “Sing” with Kristine (Jessica Latshaw) and Al (Colt Prattes) but a quick shift to an ensemble number picks up the pace and we are back on track until Natalie Elsie Hall does not stop the show with “Dance: Ten; Looks: Three” (better known as “Tits & Asses”).
Cassie (fine performer Nikki Snelson), the former love interest of Zach, is given the best solo with “The Music and the Mirror” that expresses her desire to return to the chorus line. The marvelous song “One” is introduced by the company before breaking into “The Tap Combination” when groups of four or six strut their stuff. A standout job is turned in by Kevin Santos as Paul, Puerto Rican former drag star, and your heart breaks when he twists his knee during the tap sequences, is carried off stage and the auditions end.
As we learn more about the gypsies the more we appreciate the most endearing song from this show, “What I Did For Love” and you really believe their desires and the hardships they endure. Hopefully, if it has not already been done, someone will continue their stories because you truly can empathize with all of them.
If you have not seen A CHORUS LINE before consider this show a “must see.” To those who have enjoyed it before, don’t hesitate to see it again . . . and again.
Kedar K. Adour, MD
Courtesy of TheatreWorld Internet Magazine