Reports/Speculation on A CHORUS LINE from SF — Page 6

MB... I have often thought that a revisiting of the line, updating, as you will, of the stories would be quite interesting.

b12b... as I've told you before, I totally agree with you that the only way to make this work is to have actors really 'connect' with the characters. The last production I was in, the director worked very hard at making us connect with our characters. We created our own backstories, had entire rehearsals where we would sit and talk to each other as our characters. We knew who knew each other, who liked whom... the Sheila/Val conflict had background. The choreo sucked... but everyone who saw the show said that they had seen a quality in the show they had not seen in other recent productions in our area.

If we, a small, non-professional group could grasp that concept, I imagine it should come easy for professional, Broadway caliber performers.

---

Fosse and Bennett did respect one another's work and they are a wonderful contrast to one another as well.

Annie was the first Cassie replacement when the majority of the company moved to LA. She is also the first dancer to tie the skirt on the left side and every other Cassie followed suit. While Donna had fab turns, Annie had legs and kicks for days so, by tying the skirt on the other side it really accentuates the leg more and showed of the choreography a lot better.

Now, both Donna and Cassie were before my time, however, I did see Donna when she went back into the show in the 80's. I've said it a million times before but Vicki Frederick was my first Cassie and she was amazing. Not only drop dead gorgeous but she sang and dances the hell outta that part not to mention her impeccable acting. Her "Music And The Mirror" was so intense. I don't think anyone in the theatre drew breathe during it. It stopped the show. The dialogue had to be held while applause roared throughout The Shubert. Also, I will never forget her "Red Light" section of "TMATM" was effing h-o-t!!! There are some pictures out there, especially in the book "The Longest Line" that give you a glimpse of how amazing her performance was.

Fosse did want to direct the ACL movie but was never asked. His response was the opening audition sequence of ALL THAT JAZZ, which really captures the essence of ACL and I would have loved to have seen what he could have done with the ACL film.

Some of you may be aware but there was a ACL "workshop" done back in the late 90's that simply updated the text pop icon references and the dates that the cast was born in and it worked. Sure, you still had the 70's flared music but the script really hit home a lot more.

The references in the script remind me of THE MAN WHO CAME TO DINNER where names are dropped left and right and unless you know a great deal about 1930's historical, entertainment and social references a great deal of it does not make sense. As a matter of fact when I did it a few years back, an insert was put in the program listing alphabetically the references in the show with a brief bio. I mean tell me one 18 year old who knows who Steve McQueen is.

---

"'A Chorus Line' should never be expected to thrive on its “periodness,” it should thrive on its humanity."

Thanks best12bars, I think that pretty much sums it up.

A Chorus Line is not an amazing piece because of its flash. Its amazing because it has humanity, heart and connection to real people - the very thing that is missing (once again my opinion) from the shows we're seeing on Broadway today, as well as most of the movies coming out of Hollywood. They've got the flash, effects and polish down pat. What they're missing is the humanity.

And if for no other reason this is why we need A Chorus Line on Broadway again, even if it's only a museum piece - to remind us what Broadway theatre can be when artists reach high enough.

Updated On: 7/28/06 at 03:05 PM

Bitch.

EDIT: I'll be even bitchier... Why does Paul look Asian?

EDIT2: Someone was nice enough to point out to me that he is Hawaiian. So I guess that would be why!

*ponders*

Well, Paul San Marco has the line where he says he doesn't "look Puerto Rican..." I guess I would agree with that after seeing the photos.

I suppose Paul doesn't have to look WHITE though. Just "Not Puerto Rican," as he says.

---

Updated On: 7/29/06 at 10:17 AM

I miss Val's "Cindy Brady" pigtails.

Aside from being "sassy" you could always spot her in the crowd of dancers because of those pigtails.

EDIT: Either Xerox the original show or don't.

---

Updated On: 7/29/06 at 11:29 AM

Um, no.

What about having Deidre and Charlotte alternate in the roles of Sheila and Cassie?

---

best12bars, here's a tiny mention of Jason Tam in the Honolulu Advertiser. (Tam is a Chinese surname, BTW. But everyone in Hawaii is part something. )
http://the.honoluluadvertiser.com/article/2006/Feb/21/il/FP602210306.html

---

Also remember that Bennett adjusted the Music and the Mirror choreography for Reinking to take advantage of her long line and ballet training. Just as he built the original choreography on McKechnie's body to accentuate her amazing rapid fire spins and footwork, his version for Reinking had more high kicks and leaps to show off her stunning legs.

---

There are a couple of more positive reports up on ATC. I won't link them all, but this one is from someone who has seen the show twice in the first week of previews and says it is much improved; particularly D'Amboise. Good news!

http://www.talkinbroadway.com/allthatchat/d.php?id=290510

Love that review!!! So glad things are much better and everyone is getting into their parts. Can't wait to see this on Broadway(I'll be seeing it Oct. 12).

---

Reinking literally sang the songs in a tenor key. I doubt D'Amboise is doing them quite that low! But lowering the song to better suit her voice could make a huge difference in her performance and in her confidence in the role.

Updated On: 7/30/06 at 11:36 PM

Is there a summary of the reviews from the previews? Or are they mixed in this thread?

Direction please!

---