The vicissitudes of show business are brought into sharp focus in theatrical’s production of A Chorus Line.
Under the keen eye of formidable director Zach and his assistant choreographer Larry, 24 dancers audition for an upcoming Broadway production.
Two dozen are soon whittled down to 17.
That is when, in between the dancing, Zach asks each of them to talk about themselves – to remove any pretence and dig deep.
Photos by Nicole Cleary
Many find that challenging. Peccadilloes, grief, failure, desperation and hard luck stories emerge.
The question of age is another brought to the fore.
Among those trying out for one of the eight chorus positions is a former Hollywood star in the making, Zach’s ex-partner, Cassie.
He says she is too good to be considered. She thinks otherwise.
A couple of things are clear for all – the lure of the greasepaint remains intoxicating and the struggle unrelenting.
With book by James Kirkwood Jr. and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, A Chorus Line continues to resonate.
It first appeared on Broadway in 1975.
Among its many gongs are Tony Awards for Best Musical, Best Book of a Musical and Best Original Score.
It won the Pulitzer Prize for Drama, the Olivier Award for Best Musical and the Helpmann Award for Best Musical.
theatrical’s production retains the drama and pathos.
Most impressive is the driven nature of Julian Dods as Zach, the glue that binds everything together.
Tony Cassar’s deft dancing moves immediately hit the mark.
Madeline Pratt gives as good as she gets in the pivotal role of Cassie, who is more than prepared for the grind.
The first of the prospective chorus to speak is Paul. Nathan Fernandez imbues him with sensitivity and soul.
He’s a beauty and one of many in the cast to shine.
The humorous and self-confident Bobby – as portrayed by Jerome Ecclestone – is another.
Manda Rozen-Flannery’s affectations as Sheila are hilarious.
Among my favourites was the buoyant Sherylee Campbell, delightfully and deliberately pitch imperfect as Kristine.
Musically, the chorus numbers stood out for me.
The ending, with the reprise of One – the performers resplendent in black (Karen Spencer is the costume designer) – was particularly dynamic. Musical director Gabriel Taburet is to be congratulated.
A Chorus Line is a show that doesn’t need much dressing up in terms of staging.
A bank of tall mirrors and a faux brick background, courtesy of set designer Abbey Stanway, was just the ticket.
However, the sound was an issue. On opening night, it was patchy: microphones crackling and clashing, and not always working properly, while the sound mix was off.
Overall and consistently, the music and vocalisation were too loud. A fellow patron told me that the dangerous decibel reading was pinging on her phone.
While concerning this should be an easy fix, but it definitely needs looking into.
That aside though, I enjoyed and appreciated theatrical’s A Chorus Line, a raw and moving story of creative endeavour, skilfully directed by Tahra Cannon.
It is playing at National Theatre in St Kilda until 22nd September, 2024.
Comments