"A Chorus Line" SF Bay Newspaper Review Thread: SF Chronicle Rave- Page 3

[ACL2006]

Posted: 8/4/06 at 11:53pm

"E. Clayton Cornelious as Butch does a brief rap type number that is lively and full of energy."

Is this new?? I don't remember this at all.

[Katie2]

Posted: 8/5/06 at 2:07am

I have absolutely no idea what he's talking about. Rap number? I've seen it twice and haven't heard anything that could have been mistaken for a "rap number."

[Michael Bennett]

Posted: 8/5/06 at 2:18am

Could he maybe,possibly be thinking of Richie and "Give me the Ball?"

I love how all these reviews in SF are written in code!

[Katie2]

Posted: 8/5/06 at 2:45am

That's what I thought possibly too. Although that doesn't sound like rap at all to me AND that's Richie.

Poor SF critics... not enough theatre comes here for them to keep on top of the specifics. *g*

[jimnysf]

Posted: 8/5/06 at 2:48am

I just got back from seeing the show. I sat in the same exact seat for "Lestat" but I am glad to report that I had a much better experience this time!

I've seen "ACL' many times on Broadway including the final performance and I've seen a few tours and a production at AMTSJ last year. Tonight was like visiting an old friend who was still as sharp and looked as good as when we first met. I had a great time! I was the same age as many of the performers the first time I saw the show in the 80's and I am older now but I still found the show to be relevant, moving and thrilling. Paul's story still made me teary eyed and it happened again at the finale.

I thought everyone did a fine job. I don't know why some people have knocked Charlotte's acting, but she was in good form tonight. There were two understudies in tonight: Joey Dudding as Roy and Mike Cannon as Mark.

The audience was really into this show and there was prolonged applause after many of the numbers including "Sing!", "Hello Twelve...", "The Music and The Mirror", "What I Did For Love" and the Finale.

I hope to see it again before it leaves town. Judging from the line at the box office (not will call), tickets must be selling pretty well.

They were taking order for the new cast recording CD which is scheduled to be released in October.

[jimnysf]

Posted: 8/5/06 at 3:47am

I haven't seen anyone mention that Alisan Porter, the star of the film "Curly Sue", is in the cast of "ACL". She plays Bebe.

Updated On: 8/5/06 at 03:47 AM

[jimnysf]

Posted: 8/5/06 at 10:44am

Is it me or do the excerpts from the positive reviews in the "Broadway Pulse" appear to be negative? If I didn't know better, I would think that the SF Chronicle gave the show a negative review instead of it's "highest rating".

https://www.broadwayworld.com/pulse/

[YouWantitWhen????]

Posted: 8/5/06 at 10:54am

We were able to order tickets about 10 days ago for center mez on the 13th - so hopefully there are some more out there for you to grab.

I cannot wait to see this again...

But I wonder why they are doing another cast recording if this is basically identical to the original - I am not sure I would buy this one - as opposed to some shows that cast the production in a very different light, or have updated something...

[Kent]

Posted: 8/5/06 at 10:56am

"Tonight was like visiting an old friend who was still as sharp and looked as good as when we first met."

Thanks jimnysf,

Your experience reminds me of why I'm so looking forward to this revival - to revisit the profound experience I had when A Chorus Line first opened...even if it's now only a museum piece. I really don't expect the production to be perfect(whatever that means). And I don't think it's even possible for the show to have the impact and shock value it once did. But just like pulling out a memorabilia box of old photos and reliving the memories, I'm hoping this production can at least help us relive, if only for one night, the heart, soul and genius that is A Chorus Line.

[Michael Bennett]

Posted: 8/5/06 at 11:51am

The review in the SF chronicle starts with that great rave for D'Amboise, but if you read it carefully, he does have some minor reservations, or at least concedes that concerns that the show might be dated or untimely are at least partly true.

Jimmy, I wish you would go into a little more detail about the performances, etc. It does seem that the creative team, from the article with Bob Avian, is going to be happy enough with a production that generates no more than a warm "stroll down memory lane" for people who have seen the show before, and certainly the reviews that are most favorable seem to be content with that prognosis as well.

I am not sure that is going to be enough for me personally (the words "museum piece" are not a compliment in my book); but hopefully the reviews indicate that the show is getting stronger week to week and now that the foundation is clearly there, perhaps the creative team won't be afraid to flesh out and explore some new layers; and so I'm even more anticipating seeing it.

Updated On: 8/5/06 at 11:51 AM

[morosco]

Posted: 8/5/06 at 12:07pm

"But I wonder why they are doing another cast recording if this is basically identical to the original - I am not sure I would buy this one - as opposed to some shows that cast the production in a very different light, or have updated something..."

I'm looking forward to hearing a new recording of the score. Perhaps we'll hear things from the score that weren't captured on the original cast recording like "And.." and the "Tap Combination" and maybe things will be put on disc in their correct show order. I'm also interested in hearing the subtly tweaked orchestrations. The performances of the original cast will be tough to beat, but another recording will be a welcome addition to my cd collection!

[MargoChanning]

Posted: 8/5/06 at 12:12pm

A complete recording of the entire "Hello Twelve" sequence would also be a great addition -- though with so many different characters singing their solos, the booklet insert would need to include the entire libretto for it to make sense to listeners.

Updated On: 8/5/06 at 12:12 PM

[EponineAmneris]

Posted: 8/5/06 at 12:15pm

I can not wait for the new CD... if only for Charlotte's MUSIC AND THE MIRROR

[Michael Bennett]

Posted: 8/5/06 at 12:25pm

There is only one English language cast recording of A CHORUS LINE, surely a second, even if not complete, is welcome.

[FosseBoi]

Posted: 8/5/06 at 12:29pm

I just REALLY want "And..." and that great music before "Give Me The Ball" recorded!

[YouWantitWhen????]

Posted: 8/5/06 at 12:40pm

Silly me - I thought that with such a focus on being true to the original, that the cast recording would do the same ...

But of course it would not be a repeat of what was already done!

[Michael Bennett]

Posted: 8/5/06 at 12:44pm

It would also be nice to have the Cassie/Zach dialogue between the verses of "Music and the Mirror" and their confrontation scene during the "One" rehearsal. There is lots of stuff they will probably have room to include on a new recording.

[MargoChanning]

Posted: 8/5/06 at 12:45pm

Perhaps Breglio will take the same approach he did with DREAMGIRLS. The OBC cast recording, while brilliantly performed, was heavily edited (as was ACL), so two decades later he was willing to sanction production a second, totally complete recording of the score when the Actor's Fund concert came along. Perhaps this time the ACL recording will include ALL of the music (and perhaps a bit of selected dialogue).

[IssaMe]

Posted: 8/5/06 at 2:05pm

Maybe it has already been mentioned, but the mistake in the Variety review about the ending was only in the online version and was corrected in the print version of Variety. The reviewer explained that he was thinking of a later production of the show he saw and confused it with the original which he didn't see.

[jimnysf]

Posted: 8/5/06 at 2:23pm

Here is the updated version of the "Variety" review.
http://www.variety.com/review/VE1117931222?categoryid=33&cs=1



A Chorus Line

(Curran Theater, San Francisco; 1,665 seats; $90 top)

A Vienna Waits production of a musical in one act conceived by Michael Bennett, book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch, lyrics by Edward Kleban. Directed by Bob Avian. Choreography restaging, Baayork Lee.

With: Ken Alan, Brad Anderson, Michelle Aravena, David Baum, Michael Berresse, Mike Cannon, E. Clayton Cornelious, Natalie Cortez, Charlotte d’Amboise, Mara Davi, Jessica Lee Goldyn, Deidre Goodwin, Tyler Hanes, Nadine Isenegger, James T. Lane, Lorin Latarro, Paul McGill, Heather Parcells, Michael Paternostro, Alisan Porter, Jeffrey Schecter, Yuka Takara, Jason Tam, Grant Turner, Chryssie Whitehead, Tony Yazbeck, Joey Dudding, Lyndy Franklin, Pamela Jordan.

By DENNIS HARVEY

This sturdy revival of "A Chorus Line" has everything going for it except the excitement of discovery, since it's pretty much the same show that opened on Broadway in 1975. Director Bob Avian (then its co-choreographer) faithfully reproduces Michael Bennett's masterful first edition, there's a hard-working and likable new cast, and much of this great musical drama's potency remains intact. But the Gotham-bound show (previews begin Sept. 18 at the Schoenfeld Theatre) has been gone from N.Y. only 16 years and begs the question: Can a verbatim revival conjure enough "event" status to re-conquer Broadway?
The original hit a then-record 6,137 performances and spawned endless touring, regional, community and even school productions. New version is not necessarily aiming for another record-setting Broadway run, but it remains to be seen if it can last long enough to break even and attract young auds as well as nostalgists who know every "step-kick-kick-again-please" by heart.

There's certainly legitimacy to Avian & Co's decision to keep "Chorus" a period piece, not updating the text (down to one chorine's dream of being "the next Jill St. John") or its psychological underpinnings (which remain matter-of-factly progressive anyway).

Design contribs don't stray from the original's brilliant simplicity, with Robin Wagner's set of mirrored panels and Theoni V. Aldredge's costumes nicely evoking the mid-1970s sans caricature. Tharon Musser's superb, complex lighting scheme is merely "adapted" by Natasha Katz. With a couple of he-manly exceptions, the cast members are slender rather than body-built in the way of contemporary show dancers.

Bennett's blocking and choreography (latter restaged by Baayork Lee, the original Connie) remain much the same. While individual moves may seem dated, the constant reshuffle of group formations (heightened by Musser's pinspot ingenuity) remains a wellspring of striking dramatic tension and aesthetic stimulus.

The most adventuresome and brilliant passages remain those when conventional music-theater showmanship is abandoned in favor of free-form song-and-dance eavesdropping, thanks to lyrics (Edward Kleban), book (James Kirkwood, Nicolas Dante), score (Marvin Hamlisch) and Bennett's conceptual impetus. ("Hello Twelve, Hello Thirteen, Hello Love" is not so much a ditty as a title slapped on a superbly fluid sequence intercutting among various dancers' memories.)

The brassy ordinariness of Hamlisch's score always seemed apt enough for a show about the perspiration, rather than the inspiration, behind showbiz glitter. Comedy spotlights ("Sing!" "Dance: Ten; Looks: Three") hold up, but the stabs at big emotions not so much.

Hamlisch's music (and Kleban's lyrics) still triumph more in the fleshing out of ensemble emotions rather than showboating individual ones. All sounded terrific, however, on opening night in Acme's sound design and under the baton of conductor Patrick Vaccariello.

A tad more racially and physically diverse than in '75, the new cast ingratiates itself as the evening goes on, just as they should. There are no star-making turns. But Jason Tam makes a plaintive impression as damaged-goods Paul; Deidre Goodwin is a snappy, sassy Sheila; Mara Davi as Maggie sports perhaps the evening's sweetest pipes; and Ken Alan gives good Paul Lynde as Bobby. Dance 10, vocals seven for the lot.

It will take another "Chorus Line" to take things a step further: One can easily imagine a slimmed-down revision running 90 minutes or so. That tighter version could trim the rambling ex-lovers' spat between director Zach (Michael Berresse) and crawling-back-to-the-chorus former "featured dancer" Cassie (Charlotte d'Amboise). It might find other places to cut in some of the ensemble chat about how tough showbiz is -- "What I Did For Love" distills that sentiment crisply enough -- or even (at risk of seeming heretical) such charming but trite numbers as "I Can Do That" or "Nothing" (songs nicely performed here by Jeffrey Schechter and Natalie Cortez, respectively).

Sets, Robin Wagner; costumes, Theoni V. Aledredge; lighting, Tharon Musser, adapted by Natasha Katz; sound, Acme Sound Partners; music direction/supervision, Patrick Vaccariello; orchestrations, Jonathan Tunick, Bill Byers, Hershy Kay; vocal arrangements, Don Pippin. Opened, reviewed Aug. 2, 2006. Runs through Sept. 2. Running time: 2 HOURS, 5 MIN.

[Mike3]

Posted: 8/5/06 at 2:46pm

"The reviewer explained that he was thinking of a later production of the show he saw and confused it with the original which he didn't see."

Well, if that's the case, I'm even more baffled.

Variety couldn't assign someone to review this who saw the original production? Especially given the emphasis on careful recreation of the original production, Variety's choice seems silly.

His opening line: This sturdy revival of "A Chorus Line" lacks nothing except the excitement of rediscovery, since it's pretty much the same show that opened on Broadway in 1975.

I have a ticket for next week. I still have my ticket stub from the first time I saw A CHORUS LINE - at the Curran with the first national company. It was my first experience of professional theatre. How's this for a coincidence: I'll be sitting in the same seat. I can't wait to experience these characters again.

Regarding the cast recording, I was thinking the same thing, Margo. I'm so happy with the concert version of DREAMGIRLS, and I hope they are far more generous this time around.

[best12bars]

Posted: 8/5/06 at 2:51pm

I don't think it matters at all whether or not they saw the original, anymore than whether or not a critic saw the original production of Kiss Me, Kate... or Hamlet... when they reviewed that.

The show should be taken for what it is, and work on its own terms in today's world... or not.

But a valid theatrical criticism of this or any revival should not hinge on the reviewer's experience with an original production.

EDIT: And I would love a complete new recording, if for no other reason than to celebrate the orchestrations with today's vastly improved recording technology, and to have a full version of "Hello Twelve" as well as the inclusion of "And..."

Updated On: 8/5/06 at 02:51 PM

[FindingNamo]

Posted: 8/5/06 at 2:58pm

Duh, you guys. How can you forget:

Check one... one, two...
Awwww yeah... kick it...
Gimme, gimme, gimme,
Check check...
Yo! Gimme the ball, gimme the ball
Uh-huh, what? What? What?
Gimme the ball, gimme the ball, gimme the ball
Oh yeahhhhhhhh
Gimme the ball, gimme the ball, gimme the ball
Oh yeahhhhhhhh...

Do I have to do all the remembering around here?

[best12bars]

Posted: 8/5/06 at 3:00pm

Ah, yes.

Richie in da house.

Thanks for bringing that long-forgotten rap back to me.

*tears up*

[MargoChanning]

Posted: 8/5/06 at 3:09pm

I have no problem with a reviewer critiquing a revival even though he didn't see the original. My problem with this reviewer is that in several instances in his earlier review (and subtly in this version) he implies that he did see the original and negatively compares this production to it which is dishonest and unprofessional. He should simply review what's on the stage now and leave the comparisons to more experienced writers.