A Chorus Line
Gerald Schoenfeld Theatre
New York, NY
Directed by Bob Avian, (Bennett's original co-choreographer), the show indicates the sting of reality softened with dreams. The dancing dazzles, the characters inspire. It does not matter whether you prefer this Cassie or the original; Cortez' "What I Did For Love" or Priscilla Lopez'. If, however, you go clenched to the original version, no revival will ever match up. A Chorus Line is more than that first memory. The stories unveil the undercurrent of universal human emotions that are eternally relevant. Admittedly, in this post-Phil Donohue Show era, we are more blase hearing them, conditioned by watching guests expose their secret lives every afternoon on television.
On a bare mirrored stage, 17 of the most limber dancers you ever saw bring their stories to life with confessional honesty, words, song and dance interwoven with vibrancy and emotion. Within seven minutes of "I Hope I Get It" and "I Can Do That," we gain more than just a glimpse of these young dreamers who just want is a chance in the chorus line. It is hard to leave the show without feeling the heart behind it and the heartbreak of rejection. As the final cut approaches, you root for your favorites.
The concept of saluting gypsies was Michael Bennett's, who invited a group of dancers to tell their stories. From their interviews came the James Kirkwood and Nicholas Dante book. Many of the performers played themselves in the original show. In the current production, Michael Bernesse plays demanding director Zach, who conducts most of the interviews from the back of the theatre. Charlotte d'Amboise brings a sinewy, vulnerable restraint to desperate, veteran star dancer Cassie, whose vibrant "Music and the Mirror" sequence convinces Zach to give her a chance.
Sassy, well-toned Deidre Goodwin is convincing as an older, more sardonic gypsy, aware that her dancing future is facing its finale. Jason Tam is heart-rending as Paul, a lonely gay drag queen. Chryssie Whitehead plays hyper, leggy, tone-deaf Kristine, who clutches hands with her husband, Al (Tony Yazbeck), as they each audition.
Val, effectively played by Jessica Lee Goldyn, once was insecure, but after the miracles of plastic surgery, she struts lustily to "Dance: Ten; Looks: Three": "Tits and ass can change your life/They sure changed mine." With expressive huge eyes, Natalie Cortez brings a tight confidence to Diana, singing authoritatively "What I Did For Love" and "Nothing," recalling her ferocious frustration in a high school acting class. Mara Davi as Maggie is impeccable in "At the Ballet," where imagined beauty is brilliantly dramatized by turning mirrors on Robin Wagner's evocative stark set.
A Chorus Line demonstrates Marvin Hamlisch's finest theatre melodies, punctuated with pizzazz. With the sharp, smart lyrics by the late Edward Kleban, the score illuminates both the dancers' tough lives and the artistic spirit spurring them on. A segment like" Hello 12, Hello 13, Hello Love" lays out the intricacy of weaving together words, dance and song.
There were few updates to the original production. Baayork Lee restaged the choreography. Theoni V. Aldredge's designs reflect gypsy garb as effectively today as in 1975, with Cassie standing out in a red dress among the leotards. Tharon Musser's lighting adapted by Natasha Katz is exquisite.
The show's first moments explode with youth, vigor, desperation and yearning -- "God, I hope I get it / I hope I get it." The trademark golden "One" finale closes that arc with the glamour and glitz all the dancers so yearned to experience. Underlying is the reminder that their moment of joyful achievement is just one part of a thrilling combination. They made it to Broadway, though not to stardom, and they did it all for love.
Elizabeth Ahlfors
Cabaret Scenes
October 31, 2006
www.cabaretscenes.org