BWW Interviews: Marc Robin of the Fulton Theatre on Re-Choreographing A CHORUS LINE

Marc Robin, artistic director of the Fulton Theatre in Lancaster, and regional BWW Award winner for Best Director of a Musical (for last year's GYPSY at the Fulton) is not just directing its current production of A CHORUS LINE but has re-choreographed it, moving entirely away from the well-known, easily-identified dance routines created by Michael Bennett for the show. We spoke with him at the Fulton immediately after the filming of the television commercial for the production.

BWW: Thanks for seeing me right after the taping. You must be tired - I thought you were filling in as Larry's [the assistant choreographer in the play] understudy dancing with everyone onstage.

MR: Today was the first time in ten years I've put on my dance shoes to actually dance - I had an injury and hadn't danced since. It was a major event. At least I didn't fall down with all those people behind me!

BWW: Everyone knows A CHORUS LINE. I can picture the dance routines in my sleep. Even people who don't know theatre well know them. Why a new choreography now?

MR: Today dancers dance with a different style than they did forty-two years ago. They're more athletic, sexier. I've thought that everyone's always seen the show exactly the same way. When you revive a show you should revive it, show it a different way. I love the challenge of reinvention. I'm not discounting Michael Bennett at all - I'm asking how he would do it if he did it today.

I don't know of any other professional theatre that has tried to re-choreograph this show, but I'm not saying I'm doing anything better than anybody else - I'm just doing it.

BWW: Bennett's a legend, no?

MR: He is, but it didn't put any fear in me. What makes Bennett, Fosse, Champion, Tharp valid in the industry is that they put their art, through their hearts, into their performers. If I can do that, too, I've accomplished something. When I look at Bennett, it's only big shoes to fill if I'm competing. I'm not competing, I'm just finding a new way to tell a story.

BWW: You're known in Central Pennsylvania as a director - what's your background in choreography?

MR: I've been a choreographer my entire life. I've worked as a dancer. I was a dancer first; then I choreographed for several different directors. I'm known as a director-choreographer in Philly. The reason I'm not known for choreography here is that the previous musicals I've directed here, like MISS SAIGON, haven't been dancers' shows. What's wonderful about this show is that I'm actually equal parts director and choreographer.

BWW: Where did you draw your inspiration for the new choreography?

MR: From the script. I'm a Fosse boy. It was my youth, it was two years of my life. I like CHICAGO, ALL THAT JAZZ, all that 1930's sensibility. I used my own dance background, and I danced working for Fosse, so it has that 1930's flair.

BWW: You've said that A CHORUS LINE is a highly personal show for you. Isn't that true about everyone in the business?

MR: Yes. There aren't a lot of shows about dancers that really get it. About auditions - the fear, the rejection.

BWW: Why is the show so personal for you, specifically?

MR: I've been a dancer, but now I'm Zack, the director, as well. If I were Zack and I were asked, I'd be saying I have no choice - I have to do this.

You know, I've never done this show in my career. I was cast twice and for various reasons, wound up not doing it. Finally, I've got my chance.

BWW: Here's a loaded question - for those who have only seen Attenborough's film, can you explain why it's necessary to see the actual show to understand it?

MR: There is nothing better than a live theatrical performance, film or no film. Live performance can't be replicated. The fact of someone performing a show for you, live, in front of you - that, and the feeling the performer is conveying, can never be replicated by a film. You have to see the dancing live on stage to feel it, to understand.

BWW: Is the cast that you've picked filling both the director's vision and the choreographer's vision?

MR: Yes, yes, yes. My biggest fear in this with the casting was that I'd never get 27 people who had never done A CHORUS LINE in their lives, who wouldn't argue, "that's not how it's done," but I was so lucky with my cast, especially my Cassie [Jessica Lee Goldyn], who's done it almost as her life. [Note: Goldyn was cast as Val in the Broadway revival, then replaced Charlotte d'Amboise as Cassie upon d'Amboise's departure from the show.] Our Richie, Kevin Curtis, has played in the show several times as well.

BWW: Who in the cast should we be looking out for?

MR: They're all special. As Cassie says, "He's special. She's special." We have an ensemble dancer who's only 19 and I want to see what he does with his career. Our Paul - this is his first American show. He came here from Brazil to do American musical theatre. They're all great. We have a student from Franklin and Marshall who's exceptional.

BWW: Jessica Lee Goldyn is a real catch for Cassie. Is this her first Cassie since she replaced Charlotte d'Amboise on Broadway?

MR: No, she's done this several times - Saint Louis, Paper Mill, the Paramount Arts Theatre in Chicago, off the cuff. She's remarkable because she's so young, but she's perfect. And she's inspiring, passionate, beautiful - and a great actress. She's really terrific.

BWW: This show inspired a generation of stage dancers. Do you think this production and staging will inspire younger dancers and would-be dancers in this region?

MR: I can only hope so. If I can get one person to come and see this show and put them into the arts, I'll have succeeded. And I want the guys who come to this show because they were dragged here by their wives to understand that dancers are as much athletes, do as much physical effort, as football or soccer players. That's a message that still needs to be heard.

A CHORUS LINE runs through March 30 at the Fulton Theatre, Lancaster.

Photo credit: Fulton Theatre

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