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Michael Bennett's ultimate tribute to the Broadway musical -- an intimate
look at the competitors for a spot in the final audition for a new musical
-- requires more talent than spectacle, and the cast that Bob Avian has
assembled for this loving revival has talent to spare. It is a good thing,
for the show demands a unique combination of skill, dedication,
determination and attention to detail. Practically everyone is on stage
almost all show long, with the exception of the one moment when Charlotte d'Amboise, as Cassie, gets an empty stage to fill all by herself in the
legendary dance before the mirrored back wall. She takes full advantage of
the moment in the spotlight and delivers a fabulous "The Music and the
Mirror." All show long there is no set to hide behind as all the dancers
stay "on the line" while one after another steps forward to respond to the
inordinate demand of the director to bear their souls for his consideration.
Michael Berresse is about as good as you can be in the distasteful role of
the megalomaniac director. Nick Adams is superb, both as lead dancer and as
the calming influence as the assistant choreographer who teaches all the
dancers the numbers. |
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Storyline: Broadway gypsies - the
singing/dancing members of the chorus - audition for a place on the chorus
line of a new musical. A director puts each through not only a rigorous
routine to demonstrate talents but an at times agonizing examination
of personality and personal history in the search for the ultimate
blend of characters.
A Chorus Line burst onto Broadway in 1975
in the midst of one of the many times that "The Great White Way" was being
declared terminally anemic. It began as a project by Michael Bennett to
interview members of the chorus of a number of Broadway musicals and try to
make a show out of their stories. It was a smash at the tiny (and then not
very well known) Public Theatre, and transferred to Broadway where it ran
longer than any musical had ever run till then . . . 6,137 performances over
nearly fifteen years. It made a star out of Donna McKechnie and a demi-god
out of Michael Bennet - at least in the world of Broadway. (More detailed
information on the creation of the show can be had in the marvelous book
On The Line by Robert Viagas
and two of the original line, Baayork Lee and Thommie Walsh.)
In addition to dAmboise, this line has a passel of talent
taking the spotlight at key moments. Jeffrey Schecter can definitely "do
that"
as he proves with the song "I Can Do That." The man with the moves, however,
turns out to be James T. Lane who, as Richie just wants you to "Gimme the
Ball." Natalie Cortez carries the entire cast into a soaring paean to the
dedication of Broadway dancers, "What I Did For Love." Jessica Lee Goldyn
sells "Dance: Ten, Looks: Three" (better known around the world by its
refrain, "Tits and Ass") but misses a touch of the humor in the piece. The
most impressive "song" in the show is the unsung monologue of personal
revelation delivered here with angst by Bryan Knowlton.
A separate kudo for the most upbeat performance of the
evening goes not to any one of the members of the cast but - and this is an
historic first - to one of the ushers. A Mr. A. Martinez worked the left
orchestra aisle at the performance we reviewed. "Worked" is the appropriate
verb! He greeted every ticket holder with an enthusiastic and apparently
genuine "Welcome to A Chorus Line," walked everyone to their row and pointed
out not just the location of their seats but the strengths or weaknesses of
the locations. ("You sure see lots of leg from here!" "Not to worry, the
angle won't bother you once the show gets going." "Two on the aisle - You
must really rate.") He also made sure everyone was turning off their cell
phones.
Conceived and originally choreographed and directed by
Michael Bennett. Music by Marvin Hamlisch. Lyrics by Edward Kleban. Book by
James Kirkwood and Nicholas Dante. Directed and originally co-choreographed
by Bob Avian. Choreography re-staged by Baayork Lee. Music direction and
supervision by Patrick Vaccariello. Orchestrations by Jonathan Tunick, Bill
Byers and Hershy Kay. Vocal arrangements by Don Pippin. Design: Robin Wagner
(set) Theoni V. Aldredge (costumes) Tharon Musser's lighting design adapted
by Natasha Katz, Acme Sound Partners (sound). Cast: Nick Adams, Michelle
Aravena, David Baum, Michael Berresse, Mike Cannon, E. Clayton Cornelious,
Natalie Cortez, Charlotte d'Amboise, Lyndly Franklin, Jessica Lee Goldyn,
Deidre Goodwin, Michael Gruber, Nadine Isenegger, Bryan Knowlton, James T.
Lane, Melissa Lone, J. Elaine Marcos, Paul McGill, Krysta Rodriguez, Jason
Patrick Sands, Jeffrey Schecter, Kim Shriver, Will Taylor, Katherine Tokarz,
Grant Turner, Kevin Worley.
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