The dazzling updated classic is a singular sensation
From the moment the first “God I Hope I Get It” finished on the first 1975 performance of A Chorus Line, everyone knew it was a smash hit. The show has been ingrained into the mind of everyone who loves musicals, and if you were really committed you learned the whole audition dance with dreams of playing Cassie dancing around in your mind.
Thankfully, after a too-long wait, this timeless show has returned, with a new production directed by Nikolai Foster and touring round the UK, and it is every bit as delightful as you would hope it to be. The show follows the audition process for a group of Broadway hoofers, pushed by the director to tell their personal stories and exploring what dancing means to them, while almost-star Cassie begs director Zach for a second chance to do what she loves best.
The sheer number of performances in this show that had me cheering was insane – this is surely the greatest ensemble performing in the UK right now. From Redmand Rance’s fantastic athleticism in “I Can Do That” at the top of the show, to Jocasta Almgill’s gut-wrenching vocals in “What I Did For Love”, each member of the eponymous chorus line vies for your attention and the audience is happy to give them the love. Carly Mercedes Dyer is tender and honest as Cassie, and clearly must possess lungs of steel to make it through “The Music and the Mirror” every night. A surprising favourite performer of mine was dance captain Larry (Ashley-Jordon Packer), who not only moves with grace and power but also constantly runs around the stage with a camera a la Jamie Lloyd, catching little personal moments with each performer.
This production does not use Michael Bennett’s original choreography, but Ellen Kane’s new work is just as stunning. The formations she creates are mesmerising, and modernises the work without any dissonance with Marvin Hamlisch’s wonderful music. The score floats seamlessly from sombre and tender, to hilarious and kooky, and the hard-working on-stage band (revealed only once and in the curtain call) make everything sound fantastic.
James Kirkwood and Nicholas Dante’s book feels as fresh as it did almost 50 years ago. It weaves together the intricacies of the lives of all these dancers, shaping each of them in our minds – those who are just a resume and headshot at the start of the audition process have become personal to us by the finale. So many different stories, unified by a singular love of performing, creates a sweeping story arc that pulls us in, and it is heartbreaking to watch people walk away, unselected for the show, knowing how much it means to everyone.
In the finale, at last the production explodes into full-throttle Broadway glitz and glamour, complete with confetti, fireworks, and those iconic gold top hats. We can see exactly why all the passion and pain and hard work has been worth it, and why they could never regret what they did for love, even though they all know that no show lasts forever. This production is a delight to watch, especially for those who adore theatre, and cannot be missed.