BWW Reviews: A CHORUS LINE at The Keeton Theatre

There comes a moment, very early on in Kate Adams-Johnson's A Chorus Line (which opened last night at The Keeton Theatre) in which, one by one, each of the actors is caught in the spotlight, with some portentous musical underscoring that heightens the emotional impact of the moment. But what's really telling about that sequence of illumination is how evocatively it telegraphs the stories of each of the actors in the cast. You can tell, almost imperceptibly, what it is that separates the pretenders from the contenders...

Certainly, it's not the biggest, most theatrical of the moments (but let me assure you, you will know instantly which characters will be claiming your focus and your sympathies during the show) you'll find in this winning, if sometimes uneven, production of the classic musical theater paean to the people who put themselves on the line, both literally and figuratively, throughout their onstage life. It's a classic of American musical theater, a work that has forever changed the genre and which continues to have a transformative impact on audiences and young cast members alike.

A Chorus Line can also be a tricky undertaking, any production has special obstacles and shortcomings to overcome and, for the most part, director/choreographer Adams-Johnson and her totally committed cast deliver the goods, perfectly capturing the very spirit that embodies everything the show exemplifies. Perhaps most impressive about this production is the palpable joie de vivre that is felt from those opening moments of the show as the cast members enter through the audience as their characters arrive for the audition that is at the heart of the Pulitzer Prize-winning musical. That savvy staging makes the play's action all the more accessible and helps to include the audience more intimately in what transpires onstage during the two-plus hours of A Chorus Line.

Any recounting of the show's plot seems redundan,t so much a part our musical theater history is this stunning work, which first entered the cultural zeitgeist in the mid-1970s - and it is so much a part of that time, so representative of the era in which it was borne (even if the story is essentially timeless and universal), that attempts to update the show are wrongheaded. Updating pop culture references, in an effort to bring A Chorus Line into the 21^st century, requires a virtual rewriting of the entire script; it just doesn't work. Dropping references to Troy Donahue and Robert Goulet and replacing them with Jack Nicholson and Michael Buble somehow rings false - and how could a 20-year-old boy in 2011 speak so knowingly of Anna Mae Wong and Cyd Charisse at the same time a 22-year-old girl says she wants to be the new Nicole Kidman? It's confusing and sort of baffling, to be honest.

Clearly, there's no particular need to change the script's timeframe. Essentially, A Chorus Line works best, resonates more deeply with audiences - and I daresay with casts, as well - when presented as a period piece. It speaks so eloquently of the challenges dancers face daily in their lives, but it is more believable and I think more accessible in the mid-1970s mien.

That being said, I love A Chorus Line and The Keeton's production carries that same emotional heft I've come to expect. Any audience members who find themselves unmoved by young Puerto Rican dancer Paul's confessional about his acceptance of his sexuality, his subsequent career as a drag queen and his father's behest of a producer to "take care of my son," must be heartless. 

Young Ryan Garrett gives a startlingly frank and pitch-perfect reading of the role and if this performance is a harbinger of things to come from this gifted young actor, then I'll have my datebook open for his future opening nights.

Garrett's portrayal of Paul also shows the impact of a strong director: Adams-Johnson's choreography, after the original by Michael Bennett, puts her cast members to work and there is a lot of blood, sweat and tears evident in the polished dance performances, but Adams-Johnson's focused direction may prove to be her most impactful contribution to the production. Working with her estimable bag of theatrical tricks, Adams-Johnson assures that every member of her cast is on the same page and the intensity of performances on display is of a consistent level. Juxtaposed against the varying backgrounds of her cast - and their levels of experience - Adams-Johnson's accomplishments are rendered all the more impressive.

The accomplishments of the cast are many and they all have a great deal of which to be proud: Mallory Gleason, as Cassie, delivers a gorgeously sung, well-danced "Music and the Mirror" (although having Zach - played by Tim Larson, who gives a credible reading of the role even if he is miscast - onstage pulls some focus from her performance). Gleason is younger than the Cassie that comes readily to mind, but she's confident and her performance is well-contained.

As DiAna Morales (now here's a quibble for you: Why does Zach refer to her as "dee-anna" and Diana refer to herself as "die-anna"?), Faith Kelm displays her immense talents with a beautifully sung, exquisitely danced performance. Clearly, Kelm is probably the most experienced dancer on the stage, but she doesn't outshine any of the other talented dancers onstage. Instead, she performs in the seamless manner that Zach demands of Cassie, who is returning to the chorus after flirting with stardom earlier in her career. Kelm's performances of "Nothing" and "What I Did For Love" are exemplary and the latter number retains all the impact you've come to expect from it.

"At The Ballet" is another standout on the musical program, expressively performed by Donna Driver (who is Sheila from the very first moment she steps onto the stage, remaining resolutely in character through the final curtain call), Melissa Silengo (absolutely beautiful onstage, imbuing her character of Maggie with the necessary clumsy sweetness) and Kathryn Clubb (whose portrayal of Bebe is finely etched and in extraordinarily fine voice).

As the confidently sexy Val - she of the "tits and ass" - Abigayle Horrell displays a confidence that belies her youth, playing the wannabe starlet with aplomb and grace. "Dance: 10, Looks: 3" is a great second act opener, thanks to her saucy performance.

If you are taking notes, "Caleb Reynolds" is another noteworthy name to include on your list of performers to watch for - now and in the future. As Mike, the all-American guy and the first dancer we get to know, Reynolds (who is clearly the best male dancer in the cast) delivers a terrific "I Can Do That," setting the bar high for the rest of the company.

Speaking of them, Spencer Dean is well-cast as Mark - he's a strong dancer and a very capable actor (And he's a rising high school junior? Be sure to put him on your list, as well); Adam Henry is charming as Greg; Daniel Collins is quite good as Bobby; Erin Spencer makes good use of her short stint in the spotlight as Laurie, Zach's assistant; and Chad Ray and Jessica Higgins make a very believable Al and Kristine, although pretending she can't sing has to be hard work for the talentEd Higgins.

The show's musical numbers, for the most part, are capably performed, with the superb support of music director Ginger Newman's four-person combo, who bring the quintessentially theatrical and memorable Marvin Hamlisch score to life.

Kelly Landry's lighting design provides the perfect illumination for the action transpiring onstage amid Brad Kamer's superbly conceived set. Laura Higgins' costume design clothes the dancers in rehearsal wear that is apropos for their environment. There were some sound issues on opening night that will likely be cleared up by designer Rudd Lance as the show moves deeper into its three-week run.

- A Chorus Line. Book by James Kirkwood and Nicholas Dante. Music by Marvin Hamlisch. Lyrics by Edward Kleban. Directed by Kate Adams-Johnson. Choreographed by Adams-Johnson, after Michael Bennett's original. Music direction by Ginger Newman. Presented by The Keeton Theatre, 108 Donelson Pike, Nashville. Through June 25. For details, visit the company website at www.thelarrykeetontheatre.org. For reservations, call (615) 883-8375.

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