In a glass case in the lobby are Michael Bennett's first tap shoes, bronzed, with other memorabilia. In the audience at Press Night were Helen Bennett, Michael's mother who lent the artifacts, as well as his brother. She's a strong supporter of her "son's show" as well as the Golden Apple, where A Chorus Line holds an all-time performance longevity record. In 1985-86, the Apple had to extend its first production, wedge repeats in between other shows, and replace another planned for the next season. So now the Apple rightly responds to continuing audience requests to bring back A Chorus Line along with Charlene Clark, who first played Cassie. Even without her red outfit, she'd stand out as the dancer who didn't make it as a star yet has a hard time trying to blend into a group. This doesn't infer the others don't do justice to the dancing, which is as consistently good as in any show this season. That's especially true of Tommy O'Donnell, as he concentrates on the swishy Bobby's conceit, and Jillian Johnson raising sympathies as Val while making "T & A" not only smoothly executed but more comical than vulgar. Moreover, all the "auditioners" really look like dancers on the small stage, though few are so glamorous that one would doubt they'd submit to telling so much so suddenly about their personal lives. (It may be heresy, but I've always thought their willingness to blab in front of strangers is a rather trumped up plot device. Notably, the real sources of the stories spoke to Bennett in private and remain anonymous.)
Shel O'Brocto fits the part of sexy Sheila, like her golden leotards, snugly. Though she can be hard to like, it's easy to identify with her desire to capture "Everything [that] Was Beautiful at the Ballet." Sky Cash's newlywed Kristine does great giggling, singing off-key, projecting real love for her spouse Al (Michael Harrington, supportive in every sense). Personable Todd Heffner makes one want to see more of high-stepping Val, as does slick Jeff Kin of Greg. Michael Calijan's Mark and Catherine Randazzo's Maggie could use more exposure too, while DeWayne Barrette has strong vocal but weak stage presence as director Zach.
Whether singing "What I Did for Love" or trying to conquer nervousness, Susie Roelofsz impresses dramatically in her local debut, though her Diana doesn't look Hispanic (despite a "Puerto Rican wig"). Joey Paneck prompts compassion with Paul, whose come-to realize story of transvestism and homosexuality is an obvious tear-jerker. Another winner is Josh Weidenmiller's eager young Mike, who boasts of his dancing ability, "I Can Do That," and proves it. Dancers who don't make the first cut nevertheless contribute, like the few and able musicians, to "One" singular sensation of a show.
