Whats the most depressing part of A Chorus Line - Page 2

[Bwayfan292]

Posted: 11/26/18 at 7:12pm

I’m changing my answer. I think it’s the bows. I rewatched the revival cast do “One” and the sad part was the audience didn't know who they were clapping for.

[musical3]

Posted: 11/26/18 at 7:29pm

Bwayfan292 said: "I’m changing my answer. I think it’s the bows. I rewatched the revival cast do “One” and the sad part was the audience didn't know who they were clapping for."

Indeed, as BrodyFosse123 said: "That was Bennett's way of making his point: these people who you learned about and cared about were once again reduced to "One" same faceless person. A chorus dancer in a crowd." I find that so poignant, their sacrifice of individual acknowledgment and acclaim.

 

[Jarethan]

Posted: 11/26/18 at 8:20pm

I thought that BrodyFosse123's assessment was incredibly thoughtful, and extremely well written.

I have not seen ACL since 1976.  I tried 4 times in the first year to 'love it', but it always left me cold.  I kept on hoping the next time was going to do it, but I gave up after the fourth viewing.  I also admit that I never loved the score -- especially 'What I Did for Love' -- so i am probably a lost cause.

Ironically, when I saw it those times, I felt that the cast was cheated out of a well-deserved curtain call.  As a member of the audience, I felt a little 'cheated'...I may not have liked the show that much, but I thought there were a number of outstanding performances that deserved recognition.  The individual bows during 'One' certainly identified the performers the audience appreciated the most (the three Tony winners and Priscilla Lopez), but they were so split-second that it wasn't enough.  BrodyFosse123's explanation made it clear to me why Bennett chose the ending that he did.  (I always thought that the only thing missing from the finale was a lavishly dressed middle aged woman to serve as the Dolly / Mame / Fanny / et al surrogate and, therefore, the center of the number, so I did get most of the  point. That said, I still missed the traditional curtain call).

PS -- I also hated the curtain calls for Nicholas Nickelby and Hamilton, two of my favorite shows ever, which provided no opportunity to recognize individual performances.  

 

[IronMan]

Posted: 11/26/18 at 8:39pm

It used to be the moment where the chorus is 'rehearsing' behind Zach & Cassie and he forces her to truly look at them and asks if that's what she wants.  At that moment they are step-kicking, but it always read to me as a modified goose-step.  
Now it's the "what would you do if TODAY was the day you had to stop dancing?" Like other posters, I didn't know the last time I performed (in 2004) would be my final bow.  I won't elaborate, but in hindsight it was a good way to go out. And yes, I did what I had to do. 

My first time seeing the show (after the movie, which I hated but those wiser told me that it was NOT the real show) was when Donna McKechnie was back playing Cassie for the last time (around Jan '88?) and the show was STUNNING.  In the next few years I saw it twice more and each time was more depressing because it seemed very few of them cared about being there and watching them mark it was infuriating, but taught me a valuable lesson that even Broadway performers could suck.  It took what was to me an unobtainable job and brought it down to size.  And I never gave less than I could after that, even in a tiny theater in the hinterlands. 

Updated On: 11/26/18 at 08:39 PM

[poisonivy2]

Posted: 11/26/18 at 9:49pm

Can't believe no one brought up the fact that Edward Kleban, James Kirkwood Jr., Nicholas Dante and of course Michael Bennett all died of AIDS, as well as the many Broadway gypsies who were the inspiration for ACL AND many of the members of the original B;way run.

[ggersten]

Posted: 11/27/18 at 12:06am

An aside: I got to interview Marvin Hamlisch back in 1980 or 1981, and I asked him about "What I Did For Love" because, at the time, I thought it didn't really fit with the rest of the show. Hamlisch told me that Bennett did want to cut the song, but Hamlisch implored/stood his ground telling Bennett that he (Hamlisch) deserved "one hit song".  

I can't find the anecdote about the ending of the show and Bennett's intentions - which were as BrodyFosse described.  But, I recall reading that early audiences were cheering wildly and were not horrified by the ending.  Bennett supposedly was not happy about his point being missed.  The anecdote teller said to Bennett "They're in gold lame sparkly outfits and hats and doing a kick line.  Of course the audience is cheering"

Updated On: 11/27/18 at 12:06 AM

[uncageg]

Posted: 11/27/18 at 12:21am

I saw the original Broadway production. I found none of it depressing. At the time i wanted nothing more than to be on a Broadway stage in a musical. So even with its moments of sadness and disappointments, I found it to be just what i thought life in the theatre would be and was even more excited about it by the end of the show.

Reading the books about the show made me a bit sad for some of those involved.

I have since been on 4 Broadway stages. But not as an actor.

[CallMeAl2]

Posted: 11/27/18 at 1:24am

poisonivy2 said: "Can't believe no one brought up the fact that Edward Kleban, James Kirkwood Jr., Nicholas Dante and of course Michael Bennett all died of AIDS..."

Just an addendum: Edward Kleban did not die of AIDS, and he was straight. 

[CallMeAl2]

Posted: 11/27/18 at 1:30am

Jarethan said: "... I also admit that I never loved the score -- especially 'What I Did for Love' --so i am probably a lost cause."

Well I love the show, but I am in total agreement that "What I Did for Love" is the low point. It is this sentimental Micky Rooney / Judy Garland moment in an otherwise tell-it-like-it-is unsentimental musical.