A Chorus Line, Michael Bennett’s ground-breaking Pulitzer Prize winning musical from 1975, is currently enjoying an impressive 50th anniversary revival at Goodspeed. Has it really been half a century since this modern classic about a group of Broadway dancers at an open audition changed Broadway forever? It is still one of my favorite musicals, and I’m happy to report that at the East Haddam theatre, time has not dimmed this theatre legend.
With music by Marvin Hamlish, lyrics by Edward Kleban, and book by James Kirkwood and Nicholas Dante, A Chorus Line was the “Hamilton” of its day, changing all established rules about what a hit Broadway show could be. Produced on a mostly bare stage without intermission and with limited costume changes, the show takes place one long day at an audition as a group of “gypsies” all compete with each other for a few available roles. We learn the back-stories of many of these performers, some humorous, some very sad, and get to know and root for all of them to eventually succeed. That heart of A Chorus Line has been preserved under ace director Rob Ruggiero and choreographer Parker Esse, who wisely resist trying to fuss with or improve on Michael Bennett’s landmark work.
The show is firmly set in 1975 so the dancers don’t use cell phones or pronouns. In the intimate stage that is Goodspeed, the cast of 17 just fits across the proscenium. Due to space limitations there are times the dancers are sent offstage to make more room for a dance number. In the original Broadway production mirrors were used to create the effect of a dance rehearsal room and a set of periaktoi (three-sided revolving units) at the back of the stage were incorporated into the iconic musical number, “The Music and the Mirror.” The mirrors provided a dramatic focus that highlighted the dancers’ art and the show’s core theme of self-reflection and identity. Unfortunately, this is not recreated at Goodspeed in Ann Beyersdorfer’s otherwise fine scenic design, one assumes, due to space. John Lasiter’s reflective lighting, however, seems absolutely right here.
A Chorus Line was also one of the first musicals to require the “triple threat” performer, actors who could sing, dance and act. At Goodspeed, Ruggiero has a terrifically talented company at his disposal with not a weak link in the bunch. Key among these is Karli Dinardo’s solo dancer Cassie, Scarlett Walker’s seen-it-all Sheila, Jonah Nash’s potent Richie, Diego Guevara’s sad, lonely Paul, and Mikaela Secada’s moving Diana, who gets to shine with her rendition of the musical’s popular anthem, “What I Did For Love.” In all, this is a most memorable revival. Michael Bennett would approve.
A Chorus Line continues at the Goodspeed, 6 Main Street, East Haddam, Connecticut through October 5. For further information or ticket reservations call the theatre box office at: 860.873.8668 or visit: www.goodspeed.org.
Tom Holehan is one of the founders of the Connecticut Critics Circle, a frequent contributor to WPKN Radio’s “State of the Arts” program and the Stratford Crier and Artistic Director of Stratford’s Square One Theatre Company. He welcomes comments at: tholehan@yahoo.com. His reviews and other theatre information can be found on the Connecticut Critics Circle website: www.ctcritics.org.
