"God, I hope I get it! I hope I get it! How many people does he need?" sings a group of auditioners dancing up a storm, as if their life depended on it. "I really need this job!"
Such is the inner cry of pretty much every actor/dancer hoping for their next gig. This behind-the-scenes, utterly competitive process of being cast in a show is the subject of A CHORUS LINE, one of Broadway's biggest commercial musical hits ever. The current national tour, based on the successful 2006 Broadway revival, is now playing for a strictly two-week limited return engagement at the Pantages Theatre in Hollywood thru June 13. Even after more than 30 years, this endearingly funny, emotionally-charged, highly-entertaining musical masterpiece still holds such an amazing presence on stage, a feat replicated well by this winning tour production.
It helps that the origin of this reverent revival of A CHORUS LINE is an impressive one: Garnering nine Tony® Awards in 1976-including wins for Best Musical, Best Book, Best Original Score and Best Direction for its creative center,
Michael Bennett-the original production was also bestowed with the Pulitzer Prize for Drama. The critical and box office hit stands as the fourth longest-running Broadway show ever. Featuring a powerful book by
James Kirkwood and
Nicholas Dante that compliments the memorable music created by composer
Marvin Hamlisch and lyricist
Edward Kleban, A CHORUS LINE holds up so well, simply because at its core, the show is about the people-the fascinating characters we meet over the course of an intermission-less 90 minutes that are archetypes of real-life hardworking ensemble performers, whose talents are immense despite their lack of marquee existence. This show is a musical love letter to those countless cast members that keep striving to live their dreams... by getting their next contract. In addition, A CHORUS LINE is groundbreaking in its simplicity and matter-of-factness.
Instead of one or two heroes to focus on, we get 17, each getting a moment in the spotlight to share his or her life experiences that have led up to their current presence in this audition. What is intriguingly fascinating about the show's narrative is that the stories told on stage were based on actual accumulated recollections of real-life stage performers. These interviews were then assembled and shaped by the creative team to form the stories that make up the musical's entertaining anecdotes. (
On a personal side note, I have been fortunate enough to work closely with one of the show's real-life subjects: the character named "Mike." Mike is based on veteran Broadway actor and author Michael Misita, who for several years patiently choreographed amazingly elaborate production numbers featuring myself and other fellow performers down in Orange County for the Men Alive Chorus).
On a bare stage with nary a set or a chandelier or a flying monkey, A CHORUS LINE drops its audience in the midst of an intense dance audition for a Broadway show, where director/choreographer Zach (
Derek Hanson) and his assistant choreographer Larry (
Michael Scirrotto) are dictating dance steps to a flustered, exhausted group of desperate hopefuls. It is interesting for both casual and in-the-know theatergoers to view the frustrations and anxieties that any of us would feel in the situation... Are we good enough? Am I better than
that guy?
That girl? What is this director looking for? How am I going to pay the bills if I don't get this job?
Doubt is always that creepy little monster present within anyone being judged for a job, especially in the arts. After the callback guillotine hacks away at the first cut, Zach is left with 17 dancers, a wonderfully eclectic mix of genders, nationalities, orientations, and personal styles, each armed with a unique personality that will be revealed one-by-one during the rest of the show. In what is possibly not the norm in most auditions like this, Zach asks each of them to introduce themselves and provide incredibly personal details of their past-adding additional nervous anxiety. Despite apprehension, they all comply with the audacious demand, only because they all want to land a spot in the chorus so badly. "You want the job, don't you?" barks Zach from his God-like position high above and beyond the stage.
Their stories, ranging from recollections of adolescent discoveries and personal struggles to tales of family hardships and unfortunate shortcomings, all prove powerfully poignant and, often, very comical. By now, these 34-year old iconic characters seem so familiar, especially to those who may have seen the original 1976 production, as well as to those of us who have seen countless revivals and regional productions. No need to worry, though... Under the direction of
Bob Avian (who co-choreographed the original Broadway production), this touring cast is magnificent, skillfully blending homages of past performances with their own fresh new takes, most likely peppered with touches of 21st-century sensibilities. These roles require each performer to basically be a triple-threat-to be skillfully great as a singer, actor and, most especially, a dancer.
There are plenty of standouts among the cast worth mentioning: both
Hilary Michael Thompson (as adorkable, tone-deaf Kristine) and
Kristen Martin (as vivacious, surgically-enhanced Val) steal the show during their respective solos. As Shiela, the "oldest" dancer at the auditions,
Ashley Yeater brings an appropriate amount of believable street-wise sass to her role. Petite powerhouses
Catherine Ricafort (as age ambiguous Connie) and
Selina Verastigui (as Puerto Rican firecracker Diana) offer splendid performances. Verastigui's solo work on "Nothing" and "What I Did For Love" traverse effortlessly between comical to heartbreaking. And as Cassie,
Rebecca Riker's latter-half monologue and explosive dance solo in "The Music and the Mirror" is just superb.
As for the men,
Andy Mills' acrobatic display as Mike is incredible, while Donald
C. Shorter, Jr.'s take on athletically-gifted Richie shines. Both
Andrew Hodge and
Kit Treece (as Greg and Bobby, respectively) provide brilliant comic timing during their short, but memorable turns in the spotlight. As Zach,
Derek Hanson is not only quite an outstanding dancer, he is also, as an actor, quite commanding as the dancers' taskmaster. And, finally, saddled with the show's deepest, most dramatically gut-wrenching role of Paul,
Nicky Venditti plays the role a tad too affected, a curious acting choice that, unfortunately, proved a bit disappointing. Despite an obvious talent as a spectacular dancer, his slight overacting at this critical juncture was a bit distracting, especially in what should have been this achingly pivotal, revelatory monologue that tugs at the heart with an emotionally heavy denouement. However, this is but a minor blight; it begs repeating that Venditti excels in the rest of the show.
When they perform together as a collective ensemble-as "One"-they are simply magical. Their gorgeous harmonies in "What I Did For Love," the show's signature ballad, is haunting and incredibly moving (and, for this reviewer, tear-inducing). And the dancing prowess of each performer is quite amazing, even when they pretend to stumble or miss an intricately-choreographed step.
Baayork Lee, who starred in the original Broadway production as Connie, here re-stages Bennett and Avian's original choreography to brilliant results. By the time the show crests in its final, showstopping finale, the ensemble truly becomes a "singular sensation" with every flourish and every high-kick. A CHORUS LINE, even after all this time, is still just as inspiring, exciting and powerful as ever.
Score: 9 / 10*Photos by Paul Kolnik. Top: The National Tour Company of A CHORUS LINE.
Middle: Catherine Ricafort (jumping, center) as Connie.
Bottom: Rebecca Riker as Cassie and Derek Hanson as Zach.
*Broadway World's new scoring system. For details, click here.
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Performances of A CHORUS LINE continue at the Pantages Theatre through June 13, 2010.
The new production features scenery by
Robin Wagner, costumes by
Theoni V. Aldredge, lighting by
Tharon Musser adapted by
Natasha Katz and sound by
ACME Sound Partners. Musical supervision is by
Patrick Vaccariello with musical direction by John C. O'Neill, orchestrations are by
Jonathan Tunick,
Billy Byers and
Hershy Kay and vocal arrangements are by
Don Pippin. The new 2006 Broadway cast recording of A CHORUS LINE was released by Masterworks Broadway and is available in stores nationwide.
The National tour cast currently features
Alissa Alter (Lois),
Kevin Curtis (Butch),
Jonathan Day (Tom),
Dena DiGiacinto (Vicki), Heather Duckworth (Judy),
Derek Hanson (Zach),
Tim Hausmann (Frank),
Andrew Hodge (Greg),
Bryan Langlitz (Don), Nathan Lucrezio (Al),
Stephanie Martignetti (Maggie),
Kristen Martin (Val),
Andy Mills (Mike),
Kristen Paulicelli (Tricia),
Catherine Ricafort (Connie),
Rebecca Riker (Cassie), Andrew Roubal (Mark),
Michael Scirrotto (Larry), Donald
C. Shorter, Jr. (Richie), Hilary Thompson (Kristine),
Kit Treece (Bobby),
Kirstin Tucker (Bebe),
Aaron Umsted (Frank),
Nicky Venditti (Paul),
Selina Verastigui (Diana),
Ashley Yeater (Sheila) and swing performers Adam Brown,
Venny Carranza,
Lauryn Ciardullo and
Emilee Dupré.
Showtimes are Tuesday through Friday at 8pm, Saturday at 2pm & 8pm, and Sunday at 1pm & 6:30pm. Tickets range in price from $25 - $78, although prices are subject to change without notice. The Pantages Theatre is located in Hollywood at 6233 Hollywood Boulevard at Vine Street. Tickets are available online at
www.BroadwayLA.org or 1-800-982-ARTS(2787). Tickets may also be purchased in person at the Pantages Box Office and all Ticketmaster ticket outlets.
A CHORUS LINE is presented locally by Broadway/L.A. as the sixth show of its 2010 Pantages Season. For more information, please visit the Pantages Theatre's official website:
www.BroadwayLA.org. Visit the official A CHORUS LINE website at
www.AChorusLine.com.
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