Perhaps the ultimate musical for and about theatre people, this revival of A Chorus Line was greeted with screams and cheers of delight by a glittering audience on its opening night. One of those iconic, life changing, theatre-shaping musicals, it was originally produced in New York in 1975, reproduced here by original cast member, Baayork Lee. Over the years, A Chorus Line has won numerous awards, including Tonys and Pulitzers. It introduced the theatrical term ‘triple threat’ (someone who can act, dance and sing). Bold, challenging, and thoughtful, with a huge cast, it examines the hopes and heartbreaks of Broadway auditions for a musical. ‘Seventeen dancers. Eight spots. One dream,’ as the blurb says. Who will be chosen?
The set is basically a bare stage, wonderfully lit by Tharon Musser, with a mirror behind as for dance classes or rehearsal: simple and sparse, except for the glittering finale. The whole cast is magnificent and the audience lapped up their performances as if we were auditioning with them. There is nowhere to hide for the cast should they fudge a routine .We see the dancers in ballet, tap and jazz/showbiz numbers .Some sections of choreography are reminiscent of Fosse’s Chicago and Sweet Charity. There is both sensational synchronised ensemble dancing (‘One’), and some great solos (particularly Mike’s ‘I Can Do That’ and Cassie’s solo to ‘The Music and the Mirror’. Richie (Kurt Douglas) also has a hypnotically smooth and exceptional jazzy solo in ‘Gimme the Ball’).
Various other showstopping sections include the exquisite, heartbreaking trio for Sheila, Bebe and Maggie, ‘At the Ballet’. Statuesque, world-weary Sheila (“Can the adults please smoke?”) was brilliantly played by Debora Krizak , with regal carriage and dry wit. There’s also great fun to be had with ‘Sing’ for husband and wife Al and Christine (who can’t – rather scatterbrained, she is tone deaf).
Diana’s haunting ,darkly funny ‘Nothing’ solo was superbly performed by Karlee Misipeka. She also leads the poignant , spine-chilling ‘What I Did For Love’ towards the end. Paul’s revealing and intimate monologue was magnificently, delicately performed by Euan Doidge, and boy can he also dance divinely.
Cassie’s major extended dance solo, ‘The Music and the Mirror’ is a showcase for Anita Louise Combe, and she makes the most of it with a dazzling performance. Her relationship with Zac (Josh Horner) causes great difficulties and we wonder if they can handle the situation. Zac can seem tyrannical at times, a disembodied voice, but is also a terrific dancer when leading the rehearsals for ‘One’.
Then there’s the risqué solo for Val (Hayley Winch) who knows that talent alone doesn’t count with casting directors – plastic surgery and silicone can help (‘Dance: Ten. Looks: Three’). For some of the men there is also a questioning of their sexuality and ‘finding themselves’, particularly in ‘Hello, Twelve, Hello Thirteen, Hello Love’.
This show for all theatre people at heart. It could run for years but has only an extremely limited season. Touted as ’A classic Broadway musical for a new generation’, it sure is. Book now.
Rating: 4 ½ stars out of 5
A Chorus Line
Conceived, originally directed and choreographed by Michael Bennett
Book by James Kirkwood and Nicholas Dante
Music: Marvin Hamlisch
Lyrics: Edward Kleban
Co-choreographed by Bob Avain
Original direction and choreography restaged by Baayork Lee
Associate director/choreographer: Michael Gorman
Resident director/choreographer: Siobhan Ginty
Musical director: Paul White
Assistant musical director: Stephen Gray
Cast: Jakob Ambrose, Renee Armstrong, Rohan Browne, Gerard Carter, Will Centurion, Anita Louise Combe, Samantha Dodemaide, Euan Doidge, Kurt Douglas, Stephanie Grigg, Joel Benjamin Hewlett, Mitchell Hicks, Mark Hill, Josh Horner, Sian Johnson, Mitchell Mahony, Debora Krizak, Leah Lim, James Maxfield, Ashley McKenzie, Karlee Misipeka, Scott Morris, Meghan O’Shea, Elisha Chin, Monique Salle, Mark Strom, Amber Jean Thomas and Hayley Winch
Running time: 2 hours 15 mins (approx) no interval
The Capitol Theatre, Sydney
July 20 – August 11
