Where are the tapes from the CHORUS LINE tape sessions?

That would be incredible!

I think it would be great to play an edited version of these audio sessions, accompanied by some stills of the dancers at the sessions, the rehearsals and even the final show, plus any footage that may exist for all.

It could make for an amazing PBS special.

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I've read that the current cast is being filmed in rehearsals and backstage as the show is in San Francisco and the taping will continue as they gear up for Broadway. I assume this will be part of a documentary somewhere down the line. Perhaps it'll go into the history of A Chorus Line -- especially since so many of the original creative team are so intimately involved with this revival. Maybe somehow they could incorporate some excerpts from the original audio tapes into the documentary's final form to help demonstrate exactly how the show was created. Just an idea.

Beyond that, it would be great if Lincoln Center or some other venue could make some of the tapes available to the public.

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I wonder if the tapes "disappeared" when dancers began to complain that they weren't getting any benefit from sharing their stories.

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Updated On: 7/31/06 at 08:48 PM

Those would be so interesting to hear. That would be so cool. I have no answer to your question, but I would love to hear them.

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I would love to listen to the tapes. I'm sure they are absolutely fascinating.

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Actually, Paul's monologue was taken nearly word for word from the autobiographical story Nicholas Dante told at the first tape session about his experiences as a teenager. Interestingly, Dante was a dancer who fancied himself a fledgling writer and when it was decided that the taped sessions would be crafted into a musical, he was enlisted by Bennett to write the book. It quickly became clear that the project was far beyond Dante's limited skills and experience, so Bennett brought in Jimmy Kirkwood to be co-book writer (though in actuality, Kirkwood wrote most of what became the ACL book -- with some additional tweaks and jokes from Neil Simon). Bennett would have fired Dante when he realized he wasn't up to the job, but had he done so, he'd have lost that monologue which he saw as crucial to the finished show, so he kept him on and basically ignored most of his contributions -- much to Dante's eternal displeasure and resentment (though that didn't stop him from cashing those enormous checks from the show which made him a wealthy man for the rest of his tragically short life).

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Updated On: 7/31/06 at 11:46 PM

How much of the actual surviving cast is left? I thought most were still alive?

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Of the OBC:

Clive Clerk, Michel Stuart, Rick Mason have passed away as have most of the original creative team: Michael Bennett, James Kirkwood, Nicholas Dante and Ed Kleban.

Updated On: 8/1/06 at 12:11 AM

Thanks you two :)

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I just realized this, Nicholas Dante is also known as Conrado Morales which is the last name of I believe is the last name of the character Diana.

Just to add to that, during the last workshop, the dancers were asked to sign release forms signing away the rights to their life stories for use in the show (as well as their images on any marketing -- none were ever paid for the countless posters and t-shirts with pictures of themselves on "the line" which became the iconic image of the show). In exchange they were paid the grand sum of one dollar a piece. While some wanted to balk at the deal, it was fairly clear (without it being said) that those who didn't sign would be fired from the show and be replaced and their contributions excised from the text. Some are still bitter about the way it was handled to this day (I recall Robert Lupone being one who still held a grudge when asked about it a few years ago).

Bennett, perhaps feeling guilty over how the situation was handled (or perhaps worried about the possiblility of a lawsuit somewhere down the line), did shortly thereafter voluntarily give a percentage of his writer's royalty -- though he's not officially credited as book writer, since he created much of the structure of the show and was the main editor he shared in the royalty pool with Dante and Kirkwood -- to the cast, as well as a smaller percentage to those who participated in the tape sessions, but did not get cast in the show (those who were cast after the sessions got nothing). Considering how many ways that small percentage was split, it didn't wind up being a great deal of money (back in 1990, one of the dancers estimated that it ended up being around $60,000 a piece at best), but it was something.

As a result of this situation, Actors' Equity demanded and got a clause inserted into the standard agreement with Broadway producers that from then on, actors were to be automatically compensated a certain percentage for their participation in all workshops.

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Updated On: 8/1/06 at 12:56 AM

Everyone cares except the Enchanted Huntress, who enjoys being annoying.

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