"And a five, six, seven, eight -- " with those words, another performance of A Chorus Line kicks off, and the audience is transported to the strange world of musical dancers. Ironically, this musical about chorus "boys" and "girls" has given jobs to hundreds of real-life dancers/actors over the years. The original production ran for years, just as the revival did. And, as predicted in the musical's storyline, some members of the original cast have become well-known names in musical theater, while others disappeared from show business. A number of the original cast, sadly, have died, including the show's creator, Michael Bennett.
All these thoughts went through this reviewer's head as the stage lights came up on a national tour of the revamped version (the one that opened on Broadway in 2006, and ran until 2008). The "new, improved" version is so close to the original in content, cast and music that only those with a very good memory could tell the two versions apart. The most significant change, in fact, is that the show has no intermission. As hoped, it maintains the show's continuity and keeps the audience focused on "the line" until the final, show-stopping minute.
In many ways, A Chorus Line didn't need much help. The original version was exhilarating, and the revival is, too. Thirty years hasn't changed its message, that we all must pursue our dreams, whatever the cost. Given the current economic downturn, it is possible that more audience members can directly relate to the experience of being "on the line." Jobs seem to disappear daily, no matter what the field. The dancers' transient existence has become very real to Americans everywhere. Like the dancers in the show, people must be willing to do "whatever it takes" to get back in the game, in order to survive.
This cast seems evenly split between dancers with Broadway credits and those with touring credits. As in the musical, they come from all over the country. While none of the performances came close to matching those in the original Broadway company, the cast's dancing is superb, and some of the dancers are better singers.
As is always the case in A Chorus Line, different characters are showcased to tell their personal stories. Bryan Knowlton, as Paul, is particularly affecting. As Sheila, Emily Fletcher displays plenty of attitude and has some of the funniest lines, too. Anthony Wayne repeatedly misfires as Richie. Wayne's voice is pitched so high it almost becomes a falsetto. Many of his moves are so effeminate, one wonders whether Richie ever played on a basketball team.
The greatest let-down, however, is Robyn Hurder as Cassie. This pivotal character must be able to mesmerize the audience, and this Cassie clearly doesn't. To her credit, this chubby, plain-looking dancer is believable when she says she never made it in Hollywood. When paired with her ex-lover, Zach (Kevin Neal McCready), Cassie never makes sparks, either. It's almost inconceivable to imagine them as a former couple. McCready does a fine job as Zach, the casting agent/confessor who is mostly offstage.
Tuesday night's performance was slightly marred by sound problems. This will undoubtedly by rectified in future performances. And, please! get rid of the cheesy backdrop in the final scene. The rotating mirrors, so memorable in the original production, are sorely missed.
Despite some of the criticism levied in the paragraphs above, A Chorus Line still has a lot going for it. It's definitely a not-to-be missed show, particularly for those enthralled with musical theater and/or professional dance.
