A Chorus Line
In 1975, Michael Bennett’s hosted a series of workshops with out of work and struggling Broadway dancers that resulted in one of Broadway’s biggest hits -- A Chorus Line, which came to Philadelphia this week with its current national tour.
What was most innovative was how he brought the chorus gypsies up front to tell their personal stories of what dancing meant for them, making them, in turn, the show’s stars. He also created a story about individuals working their asses off just to get a chance to work their asses off, something that resonates now more than ever. Has "I really need this job" ever sounded more relevant than it does right now?
There were so many firsts with Bennett’s vision, the least of which was the triple threat of dancer-singer-actor that is now the staple of chorus lines across the board.
But, timely or not, this production is not an update as Bob Avian, the director, and dance repetiteur Baayork Lee (one of the original cast members), replicate the original classic staging. Avian, who co-choreographed the original with Bennett, doesn’t make any adjustments.
Nonetheless sections of Bennett’s choreography could easily be adapted to the times without it being an insult to his genius. Most notably, ’Hello Twelve, Hello Thirteen, Hello Love," a crowded retro-mix of showdance that could easily be more stylized.
The 5-6-7-8 killer opener ("I Hope I Get It") has great energy and precision, as Zach, the omnipotent director who is holding the auditions for a flashy new musical, narrows the field. It is a difficult number in execution, filled of a lot of movement and narrative drive; and it holds up extremely well. This is also the case with the shopstopping "One," which literally deconstructs before our eyes, and "I Can Do That," a number with great drive and physicality.
What doesn’t work so well is Robyn Hurder’s Cassie, the once-rising star unable to find work who has joined the audition call. That Zach discovered her and they were former lovers only complicates matters. She struggled to keep air in her solo turn, "The Music and the Mirror" with self-conscious turns and scrambled pacing. Perhaps this is all part of her bringing to the surface her rusty showgirl persona; but Hurder’s inner fire too low for the object of the scene. Nor does it help that the her soap operatic relationship with Zach sticks out like a sour thumb and seems almost comical.
Gabriella Ruiz delivers two of the biggest numbers "Nothing" and "What I Did for Love" with big voice and big heart. Brandon Tyler is pitch perfect as Larry the dance master, especially playing next to Sebastian LaCause as Zach, who has magnetic physicality and mercurial charm.
Shannon Lewis gives Shiela, the former ballerina with the smart mouth, wry dimension. Also, providing ripe comic moments are Ian Liberto as the ready to bust out of the closet Bobby and Alex Ringler who can strike a sexy and comic pose with a glance and a derriere.
Kevin Santos is fine and true as Paul, the Puerto Rican ex-Jewel Box dancer who is caught by his parents in Anna May Wong drag.
This performance featured some brittleness, some uneven dancing that isn’t always contained within the framework of "the audition." But Bennett’s iconic finale hasn’t lost its luster, real or symbolic, and this ensemble makes it memorable again.
Forrest Theatre, Philadelphia, through Jan 4. For more information visit the A Chorus Line website.
