Robert Reviews A CHORUS LINE On Tour

[Robert Taylor]

Posted: 10/17/08 at 4:56pm

An empty stage.

Most Broadway shows try to fill that stage with huge sets, extreme lighting effects, showy costumes and over-the-top personalities, all to varying degrees of success. When “A Chorus Line” first opened on the Great White Way in 1975, it ignored the set standards listed above and instead aimed to introduce the audience to something new: People.

Using the stories of real men and women who filled the chorus lines of Broadway productions as inspiration (and sometimes as actors), “A Chorus Line” does not seek to avoid cliché, but instead embraces it when necessary and plays it as straight as possible in its attempt to celebrate and honestly reflect the lives of those people dancing behind the singular sensations. Its revival on Broadway, recently closed, that began in 2006 stayed as true as possible to the original show and has spawned a national tour, currently playing in Cleveland.

As to the story, it begins at tryouts for a new Broadway show. A group of potential chorus line dancers is reduced to seventeen, and by the end of the show will be further shrunk to eight (four women, four men). The producer lines the dancers up and asks them to each tell him a little bit about themselves. Improbable? Sure. A deus ex machina? You bet. But once you get over it and embrace the fact that the show is shining a spotlight (both physically and metaphorically) on those who really do deserve your attention, your guard goes down and your emotions heighten. The stage might stay bare for most of the show (we get some mirrors and hats as props), but it is just as full of interesting sights and sounds as any other megahit.

The posters and other advertising proudly proclaim that “A Chorus Line” is simply “The Best Musical. Ever.” Well, it’s not. Not even close. In its current condition, however, it is a good show that touches greatness every now and then, never moreso than in the first ten minutes. The audience is thrown into the first phase of tryouts without a lifesaver, and drinks in the different abilities and styles that the dancers bring to the table without being forced to look at certain dancers in particular. Everyone is judged fairly and unbiased by the audience and the (temporarily) unseen producer.

After a few of the dancers are let go, the seventeen that remain are coaxed into speaking, slowly at first and then with more and more honesty and emotion, and mostly to a tune. Sadly, the device that makes “A Chorus Line” so memorable and different than any other musical is its major problem as well. Most of the characters are given equal time, not all of them are likeable, and while some of the characters are a pleasure to watch, others have the audience checking their watches and still others cause temporary sleepiness. Characters are rushes into and out of the spotlight sometimes too quickly and sometimes much too slowly, and though they tell stories of the grime and grit of midtown New York City in 1975, the production is too slick and clean to convince you that what they are saying is true.

Oh, but when it’s good, it’s great. High energy numbers like “Sing!” and “Dance: Ten: Looks: Three” are sung and acted with huge amounts of appeal and vivacity by Jessica Latshaw, Colt Prattes and Natalie Elise Hall, and stay with the audience long after the next performers have taken center stage. The beautiful “The Music and the Mirror”, performed by Nikki Snelson (magical in Broadway’s “Legally Blonde”), is a magical dance number (choreographed by original “Chorus Line” cast member Baayork Lee) that is powerful in the emotional rawness sometimes lacking elsewhere in the show.

The cast is, on the whole, excellent. Snelson shines as Cassie. Anthony Wayne and Emily Fletcher are excellent, and there isn’t really one name in the large cast that stands out as a disappointment.

It’s a shame to see that the show has aged rather badly in some respects. Dialogue and numbers that pushed buttons in 1975 are almost commonplace today in theater, film and television. And it’s extremely sad to realize that the final whittling down of performers seems less like an emotional high point and more like a line-up from an episode of “Project Runway.”

Still, the whole definitely transcends its parts. “A Chorus Line” remains an interesting, powerful, alive piece of theater that still has the power to speak to audiences and portray the lives of those we don’t always notice in a way that will make us take a second look at our Playbills. It fills that empty stage with the closest thing to real people possible, and that is still a very rare thing.

Rating (out of 5): ***1/2

[KathyGriffinLovesYou]

Posted: 10/17/08 at 8:28pm

I read the first and last paragraph. Way tired! I love A Chorus Line! They need to get a better cast!

[Robert Taylor]

Posted: 10/17/08 at 10:51pm

Oh come now, read the meat of it too!

[bwayfan9]

Posted: 10/17/08 at 11:14pm

the meat, as always, is very juicy!! Good Job Bobby, another great review

[Anakela]

Posted: 10/17/08 at 11:18pm

Excellent review. Did you have a Paul u/s? If so who, and how was he?

[Robert Taylor]

Posted: 10/18/08 at 11:08am

Anakela, the only understudy we had was for Tony. Paul was played by Kevin Santos...and played very well indeed.

[ACL2006]

Posted: 10/18/08 at 12:21pm

Thanks for the review, but who's Tony??

Can't wait to see this come December in Philly!

[TheatreFreak05]

Posted: 10/18/08 at 12:28pm

For me, I thought Santos was the highlight of the show.

[feline0favenueQ]

Posted: 10/18/08 at 1:00pm

WOW! What an excellent review.

[alliez92092]

Posted: 10/18/08 at 3:20pm

What did you think of the guy who played Zach? When the show was in Boston, I found him to be the weakest.

[maddiem]

Posted: 10/19/08 at 12:04am

Chorus Line was the first Broadway show I had ever seen.. has a special place in my heart!

[husk_charmer]

Posted: 10/19/08 at 12:07am

Fun fact for some of you, Michael GRuber was the closing Mike in the original run.

[Anakela]

Posted: 10/20/08 at 12:14am

Anakela, the only understudy we had was for Tony. Paul was played by Kevin Santos...and played very well indeed.

oh yes, j'adore Kevin's Paul, was just curious if you'd seen his u/s or not. Thanks!

[Robert Taylor]

Posted: 11/2/08 at 12:11pm

Husk, that is really interesting.

It will be a shame to know that Nikki Snelson isn't in the show anymore, because she REALLY made what would otherwise be a cliche and prolongued section of the show not only bearable, but fun.

[SueleenGay]

Posted: 11/2/08 at 12:53pm

A deus ex machina? Really?

[Robert Taylor]

Posted: 11/2/08 at 1:09pm

It fits, what with it being completely unlikely and with the producer acting, literally, as a god for the performers.

[SueleenGay]

Posted: 11/2/08 at 1:15pm

Alrighty the, if you say so.