The 50th anniversary production of A Chorus Line, playing at the Goodspeed Opera House through November 2, still proves the Tony and Pulitzer Prize winning musical is still “one singular sensation.” The show, with sure handed, yet restrained, direction by Rob Ruggiero and spectacular, precision-led dance sequences choreographed by Parker Esse and Baayork Lee, is a must-see for any musical theater fan. You can hear the director talk in depth about the show on my podcast, On Broadway.
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| The cast of Goodspeed's A Chorus Line. Photo by Diane Sobolewski |
What makes the show even more gratifying to behold is Goodspeed’s decision, rightfully so, to present the musical circa 1975. Any updates are minimal. What audiences see is, basically, what audiences witnessed when sitting in the Schubert Theater on Broadway 50 years ago.
A Chorus Line was revolutionary when it opened on Broadway in July 1975. Here was a show about dancers. Dancers who loved their craft and were willing to give it their all as they auditioned for a spot in a Broadway ensemble. Never had a musical been centered around these performers. In A Chorus Line they were now front and center. In addition, they were required to sing and act. Their highly personal stories were culled from hours of conversations with Michael Bennett, who conceived the show, directed and choreographed the original production. Jame Kirkwood and Nicholas Dante then developed the book, utilizing nuggets from the tête-à-têtes.
The cast of Goodspeed's A Chorus Line. Photo by Diane Sobolewski
The structure of A Chorus Line is straightforward and simple. The set is an unadorned stage, with rehearsal mirrors appearing periodically behind the cast. The actors and actresses wear one costume throughout the show, only changing for the glorious finale. The plot begins with Zach, the demanding director, and his assistant choreographer Larry prepping the hopefuls with various dance steps. In the end, he is looking for four male and four female dancers. After culling their ranks by three, leaving 17 dancers remaining, he asks each performer to reveal something about themselves. Lined up, shoulder-to-shoulder at the tip of the stage, they begin, tentatively, at first. The stories they tell describe dysfunctional families, growing up homosexual (gay was not part of the mainstream vernacular back then), their fears and anxieties, and other less melancholy tales. In between, more dancing leading up to Zach’s pivotal choices and the rousing finale where the assorted individuals now become one finely-honed unit.
Jonah Nash and the cast of Goodspeed's A Chorus Line. Photo by Diane Sobolewski
Kirkwood and Dante’s libretto, while sometimes coming across as dated, still resonates with power and emotion. Any young person looking for a career on stage can deeply identify with the honest, profound sentiments laid bare by the characters of the show.
The score by Marvin Hamlisch and Edward Kleban is timeless and fully rooted in a 70’s sound. It is augmented by a large, 14-piece pit under the superb musical direction of Adam Souza and Jay Hilton’s innovative Sound Design. The songs range from stirring numbers – “I Hope I Get It,” “The Music and the Mirror,” and “One: Reprise” – to the comedic – “I Can Do That,” “Sing!,” and “Dance: Ten; Looks: Three” – to heartfelt – “Nothing,” “What I Did For Love,” and “At the Ballet.” The latter song exemplifies Ruggiero’s skillful handling of the material as well as the large cast. The character of Sheila begins the song as the other performers meld into the background. Soon, the characters of Bebe and Maggie join Sheila in what becomes an on-stage collage of the three actresses and the entire company participating in the song. As the number concludes, the line of dancers slowly reforms with the cast side-by-side once again.
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| The cast of Goodspeed's A Chorus Line. Photo by Diane Sobolewski |
The large cast is exemplary. They are all accomplished dancers, actors and singers. While there is no real lead in the show, the character of Cassie (Karli Dinardo) comes closest. In that role, Ms. Dinardo is impressive, with one extended dance routine (“The Music and the Mirror”), which she performs beautifully, and a soul-searching encounter with Zach. Diego Guevara’s Paul, an insecure soul, is another standout, who’s heartbreaking and gut-wrenching monologue is a highlight of the musical. Every member of the troupe deserves recognition, but let me acknowledge a few: Clifton Samuels as the imposing director, Zach; Travante S. Baker as his assistant, Larry; Patrick Higgins as the newbie, Mark; Beatrice Howell as the “tits and ass” obsessed, Val; Ryan Mulvaney as the overly narcissistic, Bobby; Jonah Nash as the smooth dancing, acrobatic, Richie; Mikaela Secada as the wise-cracking, Diana; and Scarlett Walker as the would-be prima donna, Sheila.
A Chorus Line, setting the bar(re) high for musicals this season. Playing at the Goodspeed Opera House through November 2. Click here for dates, times, and ticket information.
