Review: A CHORUS LINE at STAGES St. Louis In The Ross Family Theater At The Kirkwood Performing Arts Center

STAGES St. Louis opened their final show of the season tonight with a production of A CHORUS LINE. A CHORUS LINE opened on Broadway in 1975 and swept nearly every award for which it was nominated, won the Pulitzer Prize for Drama, and at the time became the longest-running production on Broadway with over 6,100 performances.

A CHORUS LINE is an ensemble piece that tells the emotional stories of dancers auditioning for a role in the chorus of a show. This production, directed by Stages Artistic Director Gayle Seay and choreographed by Dena DiGiacinto transports the audience back to 1975 in New York City with a near perfect replica of the original Broadway production. DiGiacinto recreates Michael Bennett and Bob Avian's choreography from the original production. Her choreography is as energetic and exciting as it was when the show premiered over four decades ago.

A CHORUS LINE is a production with virtually no set design other than a few mirrors on an empty stage. The costume design, an exact nod to the original production, is simplistic and minimal. Dancers wear their audition leotard for 95% of the show. What makes A CHORUS LINE compelling is the brilliant book by James Kirkwood and Nicholas Dante that tells the emotional stories of the auditioning dancers supported by the original choreography by Bennett and Avian.

The actors in this production do a magnificent job conveying their characters stories with acting choices that are credible and believable. STAGES St. Louis' production succeeds because the audience connects with each of the dancers portrayed including those who may not initially seem warm or likeable. By the end of the production, the audience is rooting for all the auditioning dancers to win the job and feels the joy and disappointment for each because their stories have induced a personal connection.

For any production of A CHORUS LINE to be effective there are a handful of non-negotiables that must be delivered; a company that can harmonize and sell the substantial parts of Marvin Hamlisch's incredible score when the music swells, an actor who disappears in to the role of Paul so the audience feels his tragic pain, a voice that can deliver a goosebump inducing vocal on "What I Did for Love," and enough dance skill across the cast to deliver on the demanding choreography and sell the closing number.

The actors in this company have the requisite vocal talent to deliver on their solo numbers, but when this cast sings collectively, they provide a robust and pleasing sound that absolutely meets the first of the required non-negotiables. Omar Garibay's (Paul) monologue about his troubled childhood tugs at the audience's heart with his empathy inducing story. The personal pain he endured growing up builds enough audience sympathy to make "What I Did for Love" a most effective penultimate number. Megan Elyse Fulmer (Diana Morales) does an adequate job leading "What I Did for Love" and when the key is modulated, and the entire company joins in the emotional connection between the characters and the audience reaches the goosebump and tear-inducing climax. Finally, this performance is capped off with a rousing finale with choreography that pays homage to the original production.

This high-kicking cast, led by Lauralyn Mcclelland (Cassie), handles DiGiacinto's choreography with elegant precision and explosive energy. McClelland's "Music and the Mirror" breathes new life and excitement into the somewhat dated choreography. Her dance solo elicited one of the biggest ovations of the evening. The company's rousing performance on the electric "Hello Twelve, Hello Thirteen, Hello Love" culminates with the powerhouse vocals and dance of Bryson Jacobi Jackson (Richie.) Many of the cast members in this production deliver vocal performances that exceed expectations for a dance-heavy musical. Abby Church (Maggie), Victor Carrillo Tracey (Mike), and Daniel Scott Walton (Al) use their splendid vocal talents to deliver their solo numbers with beautiful tone, pitch and timbre.

This STAGES St. Louis production will remind you why A CHORUS LINE became a singular sensation nearly 50-years ago. This production of A CHORUS LINE is a must see thanks to the perfect casting, sharp direction and the recreated choreography. For more information or to buy tickets, visit stagesstlouis.org.

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