A Chorus Line
I grew up with A Chorus Line. The infectious music, the vivacious dancing, the sadness of a performer risking his or her all and losing, spoke to my aspiring heart. Even today, A Chorus Line continues to inspire throngs of devoted fans. A sort of cult has grown up around the musical…upon its opening at the Pantages on June 1st, scores of pre-adolescents in ballet shoes took to dancing in the women’s room lobby while others waited beneath the giant poster in the foyer.
The newly reconfigured A Chorus Line does not disappoint. The sheer energy of the troupe in its opening number “I Hope I Get It,” with original choreography by Michael Bennett and Bob Avian, attests to their perfection as dancers. Do you know how hard it is to dance out of step when you’re a professional? Yet, this group of 26 is simply the best.
Everyone knows the story (As much as there is of it) by now. A group of dancers at an audition begin to share their hopes and fears with Zach, the director (Derek Hanson), who needs “dancers who can act.” The characters, who are based on the original cast that workshopped the first production, reveal themselves in hopes of getting one of the slots in the chorus of an unnamed musical.
In the 1970s, coming out of the closet was a pretty sensational event, so the story of Paul’s growing up and eventual turn to dance must have been one of the most wrenching of all the personal stories at the time. Now, the lively Nicky Venditti as Paul makes us feel the pain with the same immediacy. But the central story of Cassie (Rebecca Rider), a youngish dancer down on her luck who is trying to resurrect her career in the chorus by auditioning for her former lover, does not far as well. Rider dances her central performance in “The Music and the Mirror” to a turn. However, the book by Joseph Dante and James Kirkwood telling the story of a man too devoted to his work (based on Michael Bennett?) seems not enough grounds for Cassie to run off without a word. And who can explain why no one slaps Sheila (but perfectly played by Ashley Yeater)?
What holds up with brilliance as sparkling as tomorrow is the great score by Marvin Hamlisch with razor-sharp lyrics by Ed Kleban, whom I’ve come to greatly admire. Each number feels like an old friend. My standouts are “I Can Do That,” “At the Ballet,” “One,” and of course “What I Did For Love.”
As I left the classically restored Pantages Theatre, humming the tunes, I noticed the folks hovering under the largest “A Chorus Line” sign out in the foyer. They were waiting for the cast, who was more than willing to perpetuate the legend by taking a picture with the fans. There will always be room for the vitality and verve of A Chorus Line
"A Chorus Line" continues through June 13th at the Pantages Theatre, 6233 Hollywood Blvd., Hollywood 90028. Tickets range from $25.00 to $75.00 online at www.BroadwayLA.org. In person at Pantages Box Office or phone 1(800) 982-ARTS.