A Chorus Line

Reviewed by Holly Bartges

Even though I knew the auditions were set, I identified with Zach (Michael Gruber) as though I was auditioning the dancers. “He’s got it. She might. He needs work. The chip on her shoulder intrigues me.” And down the line.

The company of A Chorus Line. Photo by Paul Kolnik

Of all of the Zach’s I have seen, GruberÔs power, command, and authority permeated the Buell theatre. Knowing better, I still caught myself looking across the aisle thinking I would find him sitting there while conducting the auditions, allowing compassion to soak through when called upon, as with Paul, richly played by Kevin Santos, or allowing vulnerability to escape working with Cassie, honestly, beautifully portrayed by Nikki Snelson. Snelson provides Cassie with the most believable human depth quality given to a Cassie.

The revival of A Chorus Line beginning its National Tour at the Buell Theatre is by far the strongest, most determined, awesome production witnessed to date.

The original production opened on Broadway in 1975, on the Pulitzer Prize, 9 Tony Awards, and the New York Drama Critics Circle award. After running for almost 15 years, it remains the longest running American musical. With its 2007 revival, it recovered its $8 million dollar investment in only 157 performances. In its first five months on Broadway, it broke box office records seven times.

With the book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch, and lyrics by Edward Kleban, A Chorus Line was originally conceived and choreographed by Michael Bennet.

Bob Avian, who co-choreographed the original with Bennett, directs this National tour. Baayork Lee, who worked with Bennett, maintained the original choreography in this re-staging. Taking nothing for granted, she keeps this cast on a high-powered rehearsal schedule, and it shows.

Obviously Chorus Line resonates with the American audience. Each actor/dancer laid bare their soul with soul on Opening Night at the Buell than any other production experienced.

A Chorus Line will feast on revivals for the next thousand years, and then some, reaching far beyond the Broadway nameless Gypsies desperate to be chosen for the next production. Gypsies can make or break an otherwise good show. If the dancers are out of sync by a hair, if the high required energy doesn’t mesh, if the choreography is attacked with mechanical effort, the inner reaction can be “whoops this production just lost out.” Most of the time the audience doesn’t know who they are, and quite honestly doesn’t care, but perform with stunning equalibrium they had better. I can name several shows where that small but important aspect has fallen flat on its face, but that wouldn’t serve any purpose, so don’t ask.

The current production of A Chorus Line, taking the breath away, highlights the issue pouring heart and soul into those nameless dancers from which we expect so much.

Of course, Chorus Line resonates into the human psyche. Whether it is recognized or not, every human being who has ever walked the face of the earth, walks the face of the earth, or will walk the face of the earth auditions all the time from seven year olds hoping to be picked for a soccer team, to 16 year old worrying about the Prom, to high school students searching for college acceptance, to young lovers contemplating marriage, to couples aching for children, to college grads fretting over job security, to neighborhood acceptance, to whatever someone wants so bad they can taste it. Some will, some won’t, and think they will die in the process if what they want doesn’t happen. It takes place every minute of every day across the universe. It even extends to natural disasters. Right now in China, thousands wonder if someone will see them, hear them, and respond to them. Relief workers wonder if they can make a difference asking the very same questions. The tornadoes, the flooding in the U.S., the homeless, Corporate America, entrepreneurs; no one escapes the auditioning process. Ever.

Particular attention has been paid to this National Tour because of its true to life stories that came from the hearts of gypsies in the 1970’s, and Bennett who not only listened but heard with his mind, soul, and very Being.

The opening number, “I Hope I Get It,” shook the rafters with explosive intensity, but wanting something so badly it can be tasted is explosive intensity. Clyde Alves as Mike spoke for skillions with his heart-rending song I Can Do That. He spoke for skillions who want to believe it and can’t say it, to those who say it against great odds. Because someone told them “they can’.t”

Ian Liberto takes on Bobby with comic unease joking his way through his audition. His primal attack sets the others fretting “what do they say? How do they say it? With the gifted song And.

Diana Morales wonderfully played by Gabrielle Ruiz cut into the peeled onion of education pretending to teach but doesn’t. She clings to the courage to say it, with conviction, no matter what the cost.

The chip worn on the shoulder of Sheila deliciously played by Emily Fletcher stands out. Oozing sex appeal to con ultimately doesn’t stand in the way of her tremendous talent. Sheila has it all, and she doesn’t have to give it away. She tries. With a body to die for and enormous talent, Sheila continues to play the games in defense. Of course, it irritates Zach, but even he can see beyond his own irritation.

Sheila’s unhappy childhood lead her to The Ballet where “everything is beautiful. In the song she’s joined by Bebe (Pilar Millhollen) and Maggie, (Hollie Howard) who also found The Ballet gave them the sense they too “could be beautiful at the ballet”. Whoa! How many skillions of others do they speak for?

Paul breaks the heart with his honest hurting story capturing Zach’s compassion seeing beyond the hurt to truth in talent.

Snelson’s eye catching Cassie, desperate for a job, any job, too good to be a Gypsie; Zach said so, with humbling pride plays out her audition. He believed in her. What he saw in her, others didn’t. She sucked up her disappointments, her desperateness to audition for Zach who laid bare his vulnerable nature, rattled from her departure because he was married to his work. A scenario played out over and over and over again. Cassie takes his hard-hitting bites hoping to dance as a Gypsie rather than as a star, hoping he won’t wander into their broken relationship. Her dance to The Music And The Mirror soared to breath-taking astonishment.

The lighting designed by Tharon Musser danced with the Gypsies in rich red, blues and gold celebrating victory, celebrating defeat nearly stealing the show on its own merit. Nothing can steal this show from anyone or anything. It all rides on the same star.

After the overwhelming magnificent production of My Fair Lady, I couldn’t help but feel for the next production following on its heels. Not to worry about A Chorus Line. It’s at the top of its game in characters brought to amazing honest life, to magnificent direction, to incredible choreography.

This should not be missed by anyone because it’s everyone’s story right there on stage under dazzling lights. What about the stories behind the story? The ones who auditioned for this cast and didn’t make the cut? Where are they? Who are they? We’ll never know, but their stories become immortalized on stage. A Chorus Line is a modern day Everyman’s story. It’s yours. It’s mine. I cannot fathom a production company anywhere anytime any better than this one. With the ingrained humor, the pathos, the desperation, the insipid mistakes, the ego, the heartbreak, the confidence, the life. This production attacks A Chorus Line as though it were the most important significant aspect in the universe. In many ways it is. It’s the story of the human race, the story of human nature. It’s your story. It’s mine, Go. Call NOW for reservations, Stand in the rain if you have to. But do not miss it. This captivating spectacular production will have Mike whispering in your ear “I Can Do That”. Sheila’s hot breath will be felt at the nape of the neck. Paul’s tears will cascade with yours. Diana will have you questioning your own education that claimed it was your fault while it played its own quiet games of pretense. Don’t tell me you won’t sneak a peek into the audience to find Zach sitting there. You will. This production isn’t a smash hit. It’s over the top with exquisite artistry on all levels. It’s “One Singular Sensation” of life in its glory, victory, disappointment, disillusionment and wrong turns. Yes the opening number gapes the mouth to the floor, and the final “Golden” moment bulges the eyes, but it’s the in between stuff, the stories, the struggles figuring out what can be said about oneself that seems so insignificant allowing it to be wrapped in a golden hue of success. The golden hue splashes across the set with an ensemble disguising individuality, creating pure perfection. The nameless gypsies become One Singular Sensation.