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#26

Chicago and A Chorus Line

Posted: 8/4/10 at 4:11pm

I guess Nick Adams is also a crossover then...he was Mary Sunshine at one point right?

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#27

I think Nick was Mary Sunshine only on tour, but I could be wrong in that. So yes, technically he fits the bill, but in with him he was a replacement on both shows, instead of originating a role in one or the other, whether revival or original, as was the case with all the others we've mentioned, save Berresse, who originated a role in both revivals.

Another stand alone, I think, is Michael Gruber, who was a replacement Mike on Broadway, and went on to be a replacement Gregory Gardiner and u/s Zach in the revival (as well as Zach on the 1st national tour). He's the only person I can think of who was in the original and the revival, even if only as a replacement in both. Of course, Alyson Porter originated Bebe in the ACL revival was following in the footsteps of her mom, who also played Bebe (though in a national tour, I think, not on Broadway).

#28

Chicago and A Chorus Line

Posted: 8/4/10 at 4:26pm

Donna's nomination in the Best Actress category also seemed to cause a lot of resentment amongst many of the other cast members, building on some tension that was already developing backstage. Life was certainly not rosy backstage with the original cast, as many saw the "Big Six," and Donna especially, as getting far more attention and publicity over the rest, especially for a show that was not supposed to have a "star."

I have to wonder what would have happened that year had Donna been nominated in the supporting category. Would Lopez and Bishop both have still been nominated? Would Donna have been the favorite to win? If I remember correctly, Priscilla Lopez was highly favored to win that category (despite Goth's statement, I highly doubt Patti was considered any kind of serious competition that year for The Robber Bridegroom which barely made it two weeks and had long since been closed by the time of the awards ceremony that year), and Kelly Bishop was very surprised when it was her name that was announced.

I'm definitely in the camp of those who felt the revival was a very mechanical, slavishly reproduced copy of the original production. I have seen regional productions that, obviously, recreate the choreography and direction and yet still manage to feel fresh. There was something about the revival that felt very forced to me, which I attribute to Baayork Lee's involvement. I know many who have worked on other productions of the show with her and they have stated that her objective with the show does seem to be to reproduce the original down to the tiniest detail, which leaves them with very little room to offer anything even remotely new or fresh.

#29

Chicago and A Chorus Line

Posted: 8/4/10 at 6:26pm

"Donna's nomination in the Best Actress category also seemed to cause a lot of resentment amongst many of the other cast members, building on some tension that was already developing backstage."

There was already a lot of tension when the material was being distributed. I think some of them thought they would play their own stories.

I don't know where I heard it, but for some reason I seemed to think that Donna was being paid $1,000 per week, a whole lot more than anyone else was getting.

It's interesting because Priscilla Lopez had THE song in the show. "What I Did For Love" was the hit from the show. Donna had a great dance, but nobody left the theater humming "Music & the Mirror." It is interesting that Kelly Bishop got nominated over Pam Blair who sang "T&A".

And I agree, I don't think Patti was competition in Robber Bridegroom. That was just a crack about her Tony envy. But since her brother was also nominated, you know that she was flying high over the possibilities.

If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.

#30

Chicago and A Chorus Line

Posted: 8/4/10 at 6:34pm

I may be biased, since Sheila is my favorite character in the show, but I think she goes through a greater range really than either Diana or Val. I feel those two are pretty much who they are through the whole piece, but Sheila, especially during and because of "At the Ballet," gets to show that she really is hiding a whole lot more under the very tough and guarded facade she puts up during the course of the show.

No matter how many times and how ever many versions, from community, to regional, to the movie and all the way up through the revival I am always upset that Sheila is not one of the final choices.

My preference for Sheila even goes to thinking that Vicki Frederick was one of the only things that Attenborough got right with the near abortion we know as the movie.

#31

Chicago and A Chorus Line

Posted: 8/4/10 at 11:40pm

^^ yes, Vicki was one of a few bright spots with the movie. Her, Gregg Burge & Yamil Borges. It didn't help that Attenborough completed f*cked it up.

A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.

#32

Chicago and A Chorus Line

Posted: 8/4/10 at 11:49pm

But they were technically all being paid the same, right? Favored nations and all. Anything Donna got above that was strictly under the table.

#33

Chicago and A Chorus Line

Posted: 8/5/10 at 2:57pm

"But they were technically all being paid the same, right? Favored nations and all. Anything Donna got above that was strictly under the table."

I don't know that they all were being paid the same. Obviously they would have had to be paid Equity minimum, but Michael Bennett had a lot of pull and could have gotten Donna in at a higher contract.

Also I would hope that someone like Baayork Lee who had a ton of experience before ACL would get a higher salary than the ones who ACL was their first Broadway show.

If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.

#34

Chicago and A Chorus Line

Posted: 8/5/10 at 3:10pm

Everybody in the original cast was very experienced and if I remember correctly, none of them were making their Broadway debut.

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#35

Chicago and A Chorus Line

Posted: 8/5/10 at 4:12pm

Actually, Clive Clerk (Larry), Nancy Lane (Bebe), Donna Drake (Tricia) and Brandt Edwards (Tom) were making their debut. However, Lane and Edwards had been in the touring company of SEESAW (with Sammy Williams). Clerk and Drake were the only two people new to New York (Clerk joined during the second workshop, I presume Drake arrived for the Off-Broadway run).

And, if I recall correctly, they were all making the same. Bennett, however, wanted to create some tension and to make the outsider feel of Cassie even stronger, so he began the rumors that she was making more. He also got her a star dressing room when they moved into the Shubert, where the others were largely sharing dressing rooms (Or in the case of Kelly Bishop and Priscilla Lopez, having the wall removed to create a shared dressing room).

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#36

Chicago and A Chorus Line

Posted: 8/5/10 at 4:14pm

"none of them were making their Broadway debut."

Broadway database lists 5 as making their Broadway debut.

Additionally Cameron Mason had only one other Broadway show under his belt and Tommie Walsh and Wayne Cilento had only done one plus a "never opened".

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If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.

Updated On: 8/5/10 at 04:14 PM

#37

Chicago and A Chorus Line

Posted: 8/5/10 at 4:20pm

Also I would hope that someone like Baayork Lee who had a ton of experience before ACL would get a higher salary than the ones who ACL was their first Broadway show

Anything I've ever read about A Chorus Line said they were all considered favored nations (meaning what one got they all got) and that Donna was either making more under the table or, as husk said, was rumored to be making more. Not that that has to be the honest to god truth, but that's how the story goes.

Also, I am certain that in one book (I want to say it's "What They Did For Love") Donna is quoted as saying they were negotiated as favored nations, but she felt she was entitled to more because of her stature (although she stops short of saying she was actually paid more).

Updated On: 8/5/10 at 04:20 PM

#38

Chicago and A Chorus Line

Posted: 8/5/10 at 4:27pm

I'll have to go back and see if I can remember where I heard the $1,000 figure. Probably in an interview from one of those that was a bit cranky that there was no life after ACL.

If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.

#39

Chicago and A Chorus Line

Posted: 8/5/10 at 4:36pm

I stand corrected on the Broadway debut issue. I am trying to recall exactly what happened as stated in "On The Line," but I thought Donna did share a dressing room. Please do not quote me on any of the following. I'm almost positive that Donna shared with Patricia Garland, the original Judy. And Nancy Lane roomed with Kay Cole. Baayork opted to stay downstairs in the ensemble/understudy room as she had been in that dressing room during a previous Broadway show. My favorite story is how Priscilla Lopez was assigned with Pamela Blair and Kelly Bishop was assigned with Renee Baughman (or vice-versa) and they were so mad they weren't together that they convinced the Shubert management staff to take down the wall and the four of them shared.

http://backstagebarbie.blogspot.com

Updated On: 8/5/10 at 04:36 PM

#40

Chicago and A Chorus Line

Posted: 8/5/10 at 4:51pm

^ I have never heard about Kelly/Priscilla sharing with anyone else. Same with Donna.

The other issue was that at the Newman, they all shared one space. When it transfered and dressing rooms were assigned, most of them stayed in the basement/smaller dressing rooms, while Donna was being given a private one.

I'm in the middle of "On the Line" now (They are gearing up for the second workshop), and haven't read "What They Did For Love" in years.

Regardless, aside from those four, all of them had Touring/Broadway credits, and two had already worked with Bennett.

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#41

Chicago and A Chorus Line

Posted: 8/5/10 at 5:03pm

I remember reading that Trish Garland and Donna shared a room as well Kelly and Priscilla having being made to share with others and the wall coming down. I think it's "On the Line" that that's in.

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