A CHORUS LINE Questions

[zamedy]

Posted: 5/12/09 at 2:45pm

So I finally saw A CHORUS LINE this past weekend as it came through Buffalo. I thought the show was truly amazing, and actually went back to see it for a second time Sunday night for its closing performance. There was also something very special about seeing it in Michael Bennett's hometown. In fact they made an announcement prior to each show dedicated the performance to the city. It was touching.

I thought the entire cast was very strong... but for me my favorites were Bryan Knowlton (Paul..totally made me cry), Derek Hanson (Don), Brandon Tyler (Larry..AMAZING dancer), and Robyn Hurder (Cassie). The CD is now playing constantly in my car, and I either have "Hello Twelve, Hello Thirteen.." or "T & A" in my head. After seeing the show twice, I did have a few questions I thought some fellow BWW fans might know...

1. What do the dancers who don't make the first cut do for the rest of the show after the opening number? Just sit around in case someone else gets hurt/sick? Do they sing off stage? Obviously they also understudy the main roles.

2. I was at first surprised that there was not one single black person in the show. But I was wrong. Anthony Wayne (Richie) was out, and his understudy was played by Venny Carranza. I think Richie's solo part in "Hello Twelve, Hello Thirteen" would have made more sense to me if Wayne was in.. if that makes sense.

3. What part did Mario Lopez play on Broadway? After seeing this show, I think Bennett would have been livid that they resorted to stunt casting. That drives a knife into the heart of what this musical is all about.

4. I wish the audience would have given a standing ovation during the end of "One: Reprise." Maybe they were waiting for an 'official' curtain call or something. Instead, they just applauded during the final kickline. Is that how audiences usually react? The final chorus in "One: Reprise" gave me chills.

5. Why do you think this groundbreaking show ran for a record breaking 15 years on Broadway, yet the revivial didn't even last two? Have Broadway audiences changed that much that they need more big sets, lavish costumes and flying monkeys to appreciate a night in the theatre?

Finally.. "What I Did For Love" has to be one of the most beautiful songs ever written for Broadway. Period.

[DottieD'Luscia]

Posted: 5/12/09 at 2:50pm

Mario Lopez played Zach. Apparently Sebastian LaCause has left the tour as that's who played Zach when I saw the show in DC a couple of months ago.

Looks like they have a new Paul on tour now, though I believe Bryan Knowlton was a replacement in the Broadway company.

Updated On: 5/12/09 at 02:50 PM

[Eris0303]

Posted: 5/12/09 at 2:51pm

Mario played Zach on Broadway.

[BrodyFosse123]

Posted: 5/12/09 at 3:04pm

Audience members don't give the cast any form of standing ovation because they simply are expecting to do so for the conventional/normal curtain call after the show is over. Unfortunately, Michael Bennett never wanted A CHORUS LINE to have a curtain call (to drive more home the reality that these chorus dancers return to their nameless/faceless position in a show), so unless you've seen A CHORUS LINE before, no one is aware that the beginning of the "One" (Reprise) is actually the actor's curtain call bow. Its written in the stage directions that the lights fade as the cast is doing that kickline and the house lights are to come up abruptly at the show's end. This baffles non-suspecting audiences every time. They all look at each other with that inquiry: "... is this it? Is the show over?"

For this reason, I always standup and give the cast a standing ovation during that ending kickline before the lights begin to slowly fade. Thankfully, many audience members follow my lead and join me.

[husk_charmer]

Posted: 5/12/09 at 3:08pm

1. They basically sit offstage. During the run of the original, they would only replace a member of the line if they left prior to "At the Ballet." From that point on, if something happened, the role was cut, and any vocal parts needed were assumed by other cast members. In the revival, they replaced as needed. A lot of the Cassie u/s will dance the part elsewhere on a nightly basis to keep their stamina up.

2. I never found Richie's part that confusing. I assume they changed the line about him being black though.

3. Lopez was Zach. His acting wasn't that bad, but his dancing was.

4. A standing ovation would totally go against the sickening irony of the finale. You've spent a little over two hours getting to know these characters, only to have them become faceless ensemble members backing up the leading lady. Most audiences I've seen applaud during the "bows" section, and then during the final kick line. Sometimes when the set revolves to the art deco, it gets applause.

5. It feels dated. And, most of the time, long running hits don't come back and run for long. Just the nature of the beast. And, considering 95% of all productions use the Bennett staging, there wasn't anything to keep audiences coming.

[musicandtemiror]

Posted: 5/12/09 at 3:20pm

When I saw the show in Philly in December Venny was also on for Richie and not to be rude or anything thought he was absolutely horrible [singing and acting - not just because he wasn't black]and im sorry but a white guy with a spray-tan will not cut for black. They also cut all mentions of him supposed to be black.

[CSonBroadway]

Posted: 5/12/09 at 3:28pm

I don't think the show is dated at all. It isn't like Rent where it deals with issues that weren't to forbidden in society to this day. A Chorus Line's plot is still very relevant and will be as long as their are dancers and people trying to make it.

[broadwayguy2]

Posted: 5/12/09 at 3:36pm

The cut dancers serve as vocal back up during the remainer of the show, singing from the wings in order to thicken up the vocals during heavy dancing in group numbers. If you look at the lyrics in the revival CD booklet, it specifies which cut dancer is singing a line at any given time during certain sections of the Montage.

There IS a black cover for Richie, or at least there is supposed to be, who plays the cut dancer named Butch, but if he is out, there is always a second cover who is not black. Having an extra person around to cover only ONE role can be a waste after all. Also, there is rarely as asian cover for Connie, who spends much of the show talking about growing up Asian and doing King and I. The script DOES indicate alternate dialogue for the altered ethnicities.

And also, as understudies / stand-bys, the cut dancers are suposed to remain at the theatre until the actors that they cover make their last entrance - ie, the ONE finale. several times during the revival, you would see an actor standing on the line step back, walk into the wings and return a few moments later.. only to see them walk off again five or ten minutes later and have another actor (an understudy) walk on to replace them on the line. As said before, sometimes a switch would be made more seamlessly during the entrances as exits written into the script.

[broadwayguy2]

Posted: 5/12/09 at 3:39pm

Oops.. as far as the show lating only two years during the revival, yes, it's true. Replicating the Bennett staging doesn't give the show a new draw, but, as I have said before, for me the problem lies in Baayork Lee. She is very good at staging the show like a dance captain. It's like the show is run by a drill sargeant. She doesn't delve much into the heart and the 'why are you doing this?'

[smbird]

Posted: 5/12/09 at 3:56pm

I think the show is dated - the nature of the business has changed so much that the process of auditioning and getting a show is very different than it was when Bennett conceived the show. To me, that stifled some of the significance of the characters' experiences.

[zamedy]

Posted: 5/12/09 at 5:19pm

Wow. All very interesting stuff. Thanks everyone. I really want to read the 'tell all' book that came out about 20 years ago.

I can't picture Lopez as Zach. He just doesn't seem domineering enough to pull it off. I guess I also picture someone with a more authoritative, deeper voice. How was Adams as Larry?

broadwayguy2... During one of the performaces, when all the dancers are standing upstage with their backs to the audience, I did notice one dancer leave the stage briefly, and walk back on about a minute or two later. So are you saying an understudy might have replaced him?

I think I also had a much greater appreciation for this masterpiece after watching that clip of the OBC on Donahue. What an amazing group of people. Kay Cole's performance in "At The Ballet" was especially moving.

[broadwayguy2]

Posted: 5/12/09 at 5:31pm

Well, hopefully you'd notice if an understudy replaced him.

The dancers can, and do, walk offstage as needed if they require a fast sip of water or a costume repair. Standing on that line for that long takes a toll..

Adams was great as Larry.. as was Tyler Hanes and understudy Grant Turner (who was a knock out zach to boot).

Lopez played Zach as a drill sargeant.. when he was paying attention to the show, that is.

In another recent thread, I meantion the 'tell all' as well as another behind the scenes book that focused more on the technical elements of the show and it's day to day operations.. Get both, they are really needed in tandem to get a full picture.

[DottieD'Luscia]

Posted: 5/12/09 at 5:39pm

Zamedy, who was your Zach?

[zamedy]

Posted: 5/12/09 at 10:20pm

Dottie.. KEVIN NEIL McCREADY played a very solid Zach. I thought he had a nice mix of authority and understanding. He kind of reminded me of a mix between Tom Wopat and Clarke Thorell (original and closing Corny Collins in HAIRSPRAY).

And while I loved the show and the cast overall, I did think some of the lines came out a bit forced and over-acted. It kinda took you out of the moment. Venny Carranza, the understudy for "Richie," was probably the worst offender. And his high notes during his solo part were a bit painful at times.

Updated On: 5/12/09 at 10:20 PM

[dramamama611]

Posted: 5/12/09 at 10:40pm

I was very dissappointed with the revival. It left me a little empty.

[BrodyFosse123]

Posted: 5/12/09 at 10:45pm

Here are the books that are a MUST concerning the creation of the original 1975 production of A CHORUS LINE. Some are again in print:

(from 1989):


(1990; paperback reprint 2006):


(from 2000):

[Fosse76]

Posted: 5/13/09 at 11:03am

"Lopez played Zach as a drill sargeant.. when he was paying attention to the show, that is."

He generally read from the script in the back of the house...and generally left when he was not in a scene. He left poor Paul sobbing on stage for five minutes after his monologue because he was in the lobby of the theater on his cell phone.

The show is extremely dated...from its pop-culture references to its wardrobe. Personally, I don't find anything spectacular about Michael Bennett's choreography. It seems more or less serviceable...and nothing to write home about.

[Bettyboy72]

Posted: 5/13/09 at 11:18am

I also saw the show in Buffalo and the cast was incredible. The work does feel somewhat dated and I can live with that although people I was sitting around weren't feeling the revival. Also, the ensemble numbers were a little sloppy. It was interesting that Zach tells the group that the numbers have to be crisp so no focus comes off the leading lady but there were some timing issues. All in all, a great production of a classic show though.

[PalJoey]

Posted: 5/13/09 at 11:19am

.

Updated On: 5/13/09 at 11:19 AM

[gcal]

Posted: 5/13/09 at 11:32am

Word, PalJoey.

I've seen too many productions of ACL where the choreographer uses it as a showcase for his/her mediocrity. When I finally saw Bennett's staging with the original orchestrations and lighting costumes, I was stunned by how perfect all those puzzle pieces fit together with his choreography.

Seeing "Every Little Step" last week reaffirmed that. Baayork knows how to stage it, not direct it. I think Michael Bennett would have fired everyone in the first leg of this tour... they were charicatures of real people- not delivering the earnest and touching performances that I saw on opening night of the revival in San Francisco back in 2006.

[Phyllis Rogers Stone]

Posted: 5/13/09 at 11:35am

I thought all productions of ACL were required to use Bennett's choreography.

Also, it's not nice to call someone a liar.

The tone of this post is Inquisitive. Filtered by Tone-A-Tron^TM

Updated On: 5/13/09 at 11:35 AM

[WestVillage]

Posted: 5/13/09 at 11:54am

I could be mistaken, but I believe all professional productions of ACL are required to use Bennett's choreography. But I know several people who have been in non-equity productions of ACL, and these particular people are not good enough dancers to do the original staging, or anything close to it.

Also, BrodyFosse .. those books are all wonderful and agree that they are must-reads for the creation and history of ACL, but wanted to point out that The Longest Line was published in 1995, not 2000.
Updated On: 5/13/09 at 11:54 AM

[PalJoey]

Posted: 5/13/09 at 11:59am

.

Updated On: 5/13/09 at 11:59 AM

[Phyllis Rogers Stone]

Posted: 5/13/09 at 12:00pm

I don't think it's good, either. At least if you don't want to strain your own credibility.

The tone of this post is True. Filtered by Tone-A-Tron^TM

[husk_charmer]

Posted: 5/13/09 at 12:32pm

Well, part of what Fosse76 says is true, I'd heard stories of Lopez disappearing when he wasn't actively involved, and I noticed him pacing back and forth alot when I saw the show last July.