A Chorus Line – Teen Edition

Venus Creative is a female run company that encourages the talent of Hobart’s many excellent dancers in shows with significant dance content. A Chorus Line (Teen Edition) was the right vehicle for actors, dancers, and singers to work across all three disciplines.

The visual appeal of the show began with the open stage already populated as the audience arrived. The onstage camaraderie, the tension of waiting and the curiously stripped theatre was enticing. The characters are quickly and deftly established through “I hope I get it” with credit to the direction of Justin Turner in eliciting such nuanced performances. The audience is induced to care about the auditionees and their fates. The pace is unrelenting; a one-hundred-minute rollercoaster of emotion, humour, and much virtuosity.

Andreas Tsiakis has matured significantly as an actor in the last few years. His is the pivotal role of Zach, a role he plays with conviction. Tsiakis’ authority and charisma drive the show. The highest emotional stakes of the story occur in the scene between Zach (Tsiakis) and Cassie (Eleanor Johns). Johns fills the stage in a notably athletic piece of choreography.

Chloe Marsden (Lori) and Tayla Moschogianis (Val) have height and presence, showing Emily Braithwaite’s choreography to best advantage. Moschogianis brings character and humour to the story telling of “Dance: 10; Looks: 3”.

Other great character roles are those of Sheila (Caitlyn Dakin), Al (Lachie Browne), Kristine (Grace O’Halloran) and Bobby (James McGregor). The moments during the four montages where song and mime overlap were especially enjoyable. Browne and O’Halloran were a great comic team and McGregor was hilarious.

“At the Ballet” is always special. Sheila (Caitlyn Dakin) and Bebe (Lucy McKenna) gave poignant performances but Miki Browne (Maggie), brought it home through technique, an extensive range and beautiful timbre, which drew spontaneous applause. James Harrington (Paul), Lillian Tso (Diana) and Emily Cole (Judy) are three of many others who are deserving of creditable mention. Some performers were obviously better actors than dancers or dancers than singers, but the production itself was even.

The show was unamplified by body microphones, but diction and volume were excellent throughout. Harmonies were strong and clear. Performance to backing tracks can be tricky but all performances were secure, and sound was well balanced.

Lucy Allen's lighting design did much to enliven the bare black stage. Musicals about musicals have a peculiar appeal when the magic is stripped away. Mirrors and posters adorned the back wall with actors entering and exiting via the storage bay door. Footlights added to the classic Broadway vibe. The full ensemble filled the empty stage with colour and movement such that it never felt cavernous.

The curtain call (given to the tune of “One”) was done in gold sequins and yellow top hats. This lovely piece of more-or-less-traditional choreography gave each performer their well-deserved moment in the sun. Venus Creative might well consider a longer season for their next endeavour.

Review by Anne Blythe-Cooper

Photo Credits: Stephen and Alice Skinner