Chorus Line @ NY City Center- Page 7
Chorus Line @ NY City Center
NY Times review: A CHORUS LINE#150
Posted: 11/17/18 at 5:54pm
I was at the matinee today as well. I've actually never seen this before, so it was fun to see what I've been missing with the cast recording. I really enjoyed it.
I know they started 10 minutes late today, which is why it was 2 hours & 20 minutes. But, I definitely was wondering about the timing since the email said it was 2 hours & 10 minutes. I was expecting slightly shorter. At least it was enjoyable though. I've sat through 90 minute shows that felt like a chore because they weren't good.
NY Times review: A CHORUS LINE#151
Posted: 11/17/18 at 8:41pm
I saw the matinee today. I rarely post but this production was so good that I wanted to share my experience. Robyn Hurder was probably the best Cassie I have ever seen and I saw the original production several times. I missed Donna Mackechnie but saw Ann Reinking, Vicki Frederick, Sandahl Bergman and many others from that era. I love Charlotte D'Ambroise but she didn't have the voice that Robyn had. And Robyn's dancing was amazing. I thought the performances were stronger in this production than the 2006 revival with the exception of Elaine Marcos as Val. I just think she was miscast. How can someone who played Connie in the revival now become Val. I understand the need for diverse casting but Val is a blond from the midwest who has undergone plastic surgery and Marcos just doesn't fit that type. I saw Mitzi Hamilton several times in the original production and apparently it was her story, although Pamela Blair was the original Val and Mitzi took over. She was perfect each time.
Anyway, for anyone who wants to see a classic musical with a superior cast, I would try to catch the last day of this production tomorrow. Truly outstanding! Kudos to Bob Avian and Baayork Lee for keeping the orignal staging of this show so fresh and dynamic. If you love theatre, you will love this show.
NY Times review: A CHORUS LINE#152
Posted: 11/17/18 at 9:40pm
Just_John said: "I saw it this afternoon and I loved it. I had seen the broadway revival over ten times and don’t think it was as strong as that, but with more rehearsal it could have been. It ran two hours and twenty minutes. It’s suppsoed to be one hour and 40 minutes."
I've seen a lot of productions, including the original, the revival, and his one, and a few around the country. None of them was an hour and 40 minutes. The show has, in my experience, always run just over two hours (which is a little too long for me). And this production is no exception -- it may have started a little late, but my guess is that the actual run time was between 2:05 and 2:10. Which is normal.
Broadway Legend Joined: 7/10/04
NY Times review: A CHORUS LINE#153
Posted: 11/17/18 at 9:56pm
It’s suppsoed to be one hour and 40 minutes.
Impossible to accomplish unless there are huge cuts.
17 Nov matinee#154
Posted: 11/17/18 at 11:02pm
First time posting. Please be nice!
This was one of the those times when the audience and the players were in perfect communion. The opening number was electrifying: fast and honest and ultimately very sweet.
There was one tic in the singing: instead of "I. Real.ly. Need. This. Job " it was more like "I Real.ly NEEDthisJOB" (DUM dah-DUM). Hard to explain but it happened a few times.
But on to the highlights!
Montage was out of this world--through the tears anyway! To my great shame, I did not try to precipitate a standing O. The band was ripping, and it was heartfelt and intense everywhere it needed to be.
At the Ballet... if no one had sung it before... The first two parts were great; but Maggie had a hard time hitting everything as hard as the original, and she couldn't find a place to be unique. But she is not alone in having that kind of challenge.
Dance: 10 fell completely flat. Somehow Elaine Marcos couldn't summon the right combination of world-weariness and wry humor, instead going for easy laughs and camp. Didn't work for me. Physically, I thought she was miscast.
Nothing and What I Did for Love (Tara Kostmayer) were both reworked as slow-boil numbers--maybe a nod to Tara being a little bit less spunky and sassy than Priscilla Lopez. I know she's supposed to be an anchor, but I think she was supplanted by Cassie (of course) and (in my view) Sheila. Sheila (Leigh Zimmerman) was absolutely magnetic--up there with the original, Kelly Bishop--though I've only seen the grainy YouTube.
Music and the Mirror was excellent (dancing) and fair (singing). Maybe Robyn Hurder had been told to act half a line and sing half a line (is that the original?). Too daunting darling! The faux romantic sub-plot really got in the way here (guess I agree with Jesse Green on that one). But hey--great choreography and everything else. She acquitted herself.
That leaves... ONE! This was an absolute barn burner ball buster. As each player came out for the reveal, the audience's continuous applause exploded. I was ready to jump out of my seat and stay there. It was really quite incredible and quite emotional in its own way, even though I know that Bennett wanted the scene to be the great leveler of all the personalities. Or maybe not! Maybe he succeeded in making all of them immediate and real, and so the pleasure was all that deeper and sweeter in seeing them together.
17 Nov matinee#155
Posted: 11/17/18 at 11:29pm
I watched it again today and with the exception of the actress who played Cassie I found the acting to be sub par and mannered.
17 Nov matinee#156
Posted: 11/18/18 at 12:43am
Saw it this evening. To be honest, I was pretty underwhelmed and disappointed. I have some questions/concerns with the casting and acting and direction. And I just couldn’t stand the crowd that applauded every little thing. And don’t even get me started on clapping along during the finale...
The dance numbers were great, of course. There wasn’t enough Ryan Steele, as always (though I love how Larry sneaks in for the latter parts of the montage).
17 Nov matinee#157
Posted: 11/18/18 at 9:34am^ I was wondering about the clapping and cheering during the reprise of One. That was annoying because I wanted to hear the singing. Or is that normal for this show?
17 Nov matinee#158
Posted: 11/18/18 at 10:11am
If I’m remembering correctly, the finale as we know it is listed as “Bows” in the script and score, so that is supposed to be the only opportunity to applaud the individual actors. (I mean, they literally all take an individual bow.) There isn’t supposed to be a curtain call after the show like they did here.
djdonj, what do you mean about “I really need this job”? Do you mean rhythm of the line or the stress they were putting on those words? Either way, if it kept happening that way, it was probably intentional and told to the actors by the director and/or music director.
17 Nov matinee#159
Posted: 11/18/18 at 12:55pmI don’t mind clapping as they bow during the finale. But for a small stretch last night, the crowd was clapping on the beat along to the song. I want to be able to hear the music!
Broadway Legend Joined: 12/5/14
17 Nov matinee#160
Posted: 11/18/18 at 4:16pm
I've been to hard on A Chorus Line.
I've just been listening to the original cast recording for the first time since I've been in high school (over ten years ago).
And I was amazed at the emotional response I had listening to the music.
There's something about that "style" of music that makes me miss an era that I'm very sad I missed but which was a big part of my childhood.
The music reminds me of those great songs that used to be on Sesame Street in the 1970's. Songs that weren't banal or pandering to children... songs that were beautiful and nuanced. Kinda like the song When I Grow Up from Matilda; young people hear one thing, older people hear other things.
All this to say:
I was being an @$$h0|e. I'd but a ticket to this if it came to Broadway. I really want a new staging... but I could use some good times in theatre, I don't know about you. So I welcome this if it's transfering.
17 Nov matinee#161
Posted: 11/18/18 at 4:33pmYears before I was fortunate enough to visit NYC for the first time, I saw my first touring production. It was A Chorus Line which I attended with work colleagues (maybe 20 years ago?). (Before that I’d seen one or two college productions - most noticeably Grease - and had been in a few forgettable high school and college plays and musicals). Anyway, A Chorus Line really ignited my love for attending touring (and eventually Broadway, off-Broadway and regional) productions. So I’d love to see it again today. I remember a day or two after I saw A Chorus Line, I had to drive to another part of the state for work and I stopped at a record store and bought the OBCR. I do believe it was my first OBCR.
17 Nov matinee#162
Posted: 11/18/18 at 4:33pmYears before I was fortunate enough to visit NYC for the first time, I saw my first touring production. It was A Chorus Line which I attended with work colleagues (maybe 20 years ago?). (Before that I’d seen one or two college productions - most noticeably Grease - and had been in a few forgettable high school and college plays and musicals). Anyway, A Chorus Line really ignited my love for attending touring (and eventually Broadway, off-Broadway and regional) productions. So I’d love to see it again today. I remember a day or two after I saw A Chorus Line, I had to drive to another part of the state for work and I stopped at a record store and bought the OBCR. I do believe it was my first OBCR.
17 Nov matinee#163
Posted: 11/19/18 at 8:49amI watched a bootleg of the revival a few years ago, and a few clips of the OBC, but have never seen a production in person. I’ve always wanted to, but am holding off until I hear of a production worth being my first real experience. I hope rumors of an anniversary production are true!
17 Nov matinee#164
Posted: 11/19/18 at 12:43pm
Yesteday I saw A Chorus Line live for the first time. I was really disappointed:
https://humbledandoverwhelmed.blogspot.com/2018/11/florez-recital-free-wheeling-lovefest.html
17 Nov matinee#165
Posted: 11/19/18 at 1:02pm
^ I pretty much disagree with everything you wrote. Then again. it's hard for me to take seriously a review where the writer doesn't make the efforts to spell the names of the actors correctly.
Broadway Legend Joined: 7/24/15
17 Nov matinee#166
Posted: 11/19/18 at 1:18pm
I disagree with poisonivy’s review as well. I don’t really understand the complaint about the book being unsurprising or predictable. The whole show is about the hardworking ensemble members of Broadway and the grueling process of auditioning. It’s not trying to generate shock value or anything; it’s shedding light on the people behind the stars. And it does it so damn well.
I’m still humming the score days after seeing it at City Center. I’m so glad this production reminded me how excellent of a show this is.
17 Nov matinee#167
Posted: 11/19/18 at 1:30pmI just thought that I knew the stories before they even told them. Maybe it was bc the actors seemed very studied and rehearsed.
17 Nov matinee#168
Posted: 11/19/18 at 1:39pm
poisonivy2 said: "Yesteday I saw A Chorus Line live for the first time. I was really disappointed:
https://humbledandoverwhelmed.blogspot.com/2018/11/florez-recital-free-wheeling-lovefest.html"
Are you sure you saw the same show as everyone else? Or maybe fell asleep?
17 Nov matinee#169
Posted: 11/19/18 at 1:45pm
MarilynMonroeSmash said: "poisonivy2 said: "Yesteday I saw A Chorus Line live for the first time. I was really disappointed:
https://humbledandoverwhelmed.blogspot.com/2018/11/florez-recital-free-wheeling-lovefest.html"
Are you sure you saw the same show as everyone else? Or maybe fell asleep?"
I didnt realize I wasnt allowed to dislike the performance?
17 Nov matinee#170
Posted: 11/19/18 at 1:46pm
"I think the point of the number "One" is that we finally see the payout from these individuals that we've grown to care about. But when you never really cared about them, then it just becomes another chorus kickline."
You've missed the point entirely.
17 Nov matinee#171
Posted: 11/19/18 at 1:48pm
Kad said: ""I think the point of the number "One" is that we finally see the payout from these individuals that we've grown to care about. But when you never really cared about them, then it just becomes another chorus kickline."
You've missed the point entirely."
I dont think so. I think the show was poorly acted.
17 Nov matinee#172
Posted: 11/19/18 at 1:52pm
There's an interview I watched with Natalie Cortez from the revival a couple years ago and she talks about how on the first day of rehearsal, right in the script the cast receives it says something to the effect of "Never forget: A CHORUS LINE is a tragedy. At the end of the day, you become a member of the chorus and you are no different than anyone else onstage with you." Paraphrased (and probably made a bit harsher, apologies if anyone knows the exact wording).
THAT is what "One" is about. The all come out and you can't tell them apart, save for a few. That's why the full company (minus the initial cut dancers) perform and not just the 8 that receive the job.
17 Nov matinee#173
Posted: 11/19/18 at 1:57pm
poisonivy2 said: "Kad said: ""I think the point of the number "One" is that we finally see the payout from these individuals that we've grown to care about. But when you never really cared about them, then it just becomes another chorus kickline."
You've missed the point entirely."
I dont think so. I think the show was poorly acted."
The point is that it's another chorus kickline. There is no payout.
17 Nov matinee#174
Posted: 11/19/18 at 2:10pm
poisonivy2 said: "MarilynMonroeSmash said: "poisonivy2 said: "Yesteday I saw A Chorus Line live for the first time. I was really disappointed:
https://humbledandoverwhelmed.blogspot.com/2018/11/florez-recital-free-wheeling-lovefest.html"
Are you sure you saw the same show as everyone else? Or maybe fell asleep?"
I didnt realize I wasnt allowed to dislike the performance?"
I'm not saying you can't dislike a performance. I'm just so utterly baffled and confused as to how you came to all of these conclusions that you did.
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