A Chorus Line

By Angie Bedford

A Chorus Line

These days, switch onto just about any TV channel and you'll see a talent program focusing on wannabe singer / dancer /actors.

A Chorus Line pioneered this fascination into the lives of performers back in the 1970s, with a musical that asks a group of auditionees to bare their souls, rather than simply dance. 

We are treated to a smorgasbord of experiences, such as Diana Morales’ epiphany following a bad acting class, Kristine’s inability to sing and Val’s decision that a bit of plastic surgery can get you far.

The musical itself was developed in very much the same way, when, back in 1975, dancer Michael Bennett invited Broadway dancers to share their stories. 

The tape recordings were then used to develop the moments and monologues dispersed throughout A Chorus Line. This process was also documented in the first-rate film, Every Little Step.

A Chorus Line is definitely a unique musical. Big show stoppers like One and God, I Hope I Get It are remarkable, but the audience see beyond the usual smoke and mirrors to the dedication and, at times, desperation of the performer, who in the end are fighting to be a nameless and faceless chorus line dancer.

Similarly, it is one of the plainest Broadway musicals – with simply a chorus line and revolving mirrors to fill the space. At times this production lags a little in the energy required for audience focus when there are so few aesthetics. Gavan Swift’s lighting enhances mood well, and spotlights and washes are used effectively to expose the performers, and the harshness of some of their stories. 

To the dedicated, the roles in A Chorus Line have become incredibly familiar, and a small glimpse into the real lives of 1975 Broadway dancers. A cast of a various ages and cultures have been assembled for this Australian production.

It is a cast of incredible dancers. The original choreography recreated here by Baayork Lee (the original Connie, who also directed this production) is well executed throughout, particularly in the larger ensemble numbers. Sequences in Hello Twelve, Hello Thirteen, Hello Love were punchy and drew applause throughout the song.

Disappointingly, there were a few shaky voices in the mix. Coupled with some caricature acting, it led to some missed opportunities for comedy and pathos. 

Although a crowd favourite with great comic timing, Debora Krizak’s Sheila could have lessened the brassiness to revealed the troubled side of this aging dancer. Hayley Winch’s Dance: Ten; Looks: Three was spunky, but I would have loved a stronger belt. 

Anita Louise Combe as Cassie delivered a standout performance. Her interpretation of The Music and the Mirror was rich with passion and she conveyed this throughout the epic song and dance number. Joshua Horner as the director Zach was wonderful to watch in dance sequences, and his role developed well as the show went on. 

Renee Armstrong was very endearing as the sweet Judy, as was Monique Salle’s Bebe. Karlee Misipeka sang well in Nothing and What I Did for Love.

Euan Doidge beautifully delivered Paul’s monologue – a heartrending tale of finding his way as a dancer in a drag show and the ultimate reveal to his parents. Such a pity that shuffling and noise in the foyer at times made it difficult for audience in the stalls to hear this great moment in the show.

Marvin Hamlisch’s music was well performed by the orchestra. In a show so reliant on the score, they succeeded. The brass section was particularly engaging throughout. The Music and the Mirror was extremely well executed musically. 

Only eight musicals have won the Pulitzer prize for Drama – A Chorus Line being one of them. It is a testament to the insightful exploration this show provides into the unglamorous side of Broadway. 

Despite a few weak links, A Chorus Line is one of a kind musical worth catching in its short run in Melbourne.