A Chorus Line

The Gilbert & Sullivan Society of SA continues their run of audience pleasers with the iconic audition musical, A Chorus Line, with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood Jr. and Nicholas Dante.

The Tony and Pulitzer Prize-winning musical began performances on Broadway at the Sam S. Shubert Theatre July 25, 1975 before officially opening October 19, 1975. When it closed 15 years later, it was the longest-running show in Broadway history, having played 6,137 performances.

The musical — conceived, choreographed and directed by the late Michael Bennett — tells the true stories of professional dancers. Each tale was based on interviews between Bennett and his friends, many of whom portrayed their own lives in the original Broadway production.

It focusses on seventeen Broadway dancers auditioning for spots on a chorus line, and is set on the bare stage of a Broadway theatre. After the first round of cuts, Zach, the director and choreographer, asks each dancer to speak about themselves. Discomfort opens into discovery, confession leads to redemption, and the audience begins to see each dancer’s authentic selves.

What is the message of A Chorus Line? Ultimately, the show is about sacrificing desire for individual glory and working selflessly and tirelessly as a team to achieve overall success. It's a sacrifice to which many of us can relate to, particularly during these trying times.

Director Gordon Combes’ production strips the Arts Theatre stage back to its basics with mirrors across the back wall that can be hidden when necessary. The mirrors also conceal the orchestra at the back of the stage sensitively lit by Matt Ralph.

Combes has cast well with many triple threats in the company. His production gives us the spectacle of seventeen dancers in synch, but more importantly, can zoom in and reveal the innermost thoughts of each of the dancers.

His direction is complimented by musical director Mark DeLaine’s music and one of the best amateur theatre orchestras I have heard. Not a note out of place and thanks to Cambell Lawrence’s sound design, beautifully balanced with the vocals.

Sarah Williams’ choreography is inventive, well drilled and appropriate to the period. This is no mean feat when much of the choreography is dictated by the script itself. I have not seen dancers so confident in amateur theatre for a long time. The final number was definitely worth the wait.

Even though the dancers are in practice clothes for almost all the performance, the audience wait for the trademark top hat and tails combination of the last number. Combes and Anne Humphries have given us golden glitz and glamour that sparkle in the lights. Some of the male final costumes could have benefitted  from a longer line in the coat and waistcoat however.

A Chorus Line is an ensemble piece and so rather than elaborate on each character, I would like to acknowledge all the performers and select the moments that resonated with the audience and this reviewer.

The main cast are David MacGillivray (Zach), Bailey Edwards (Larry), Alana Shepherdson (Cassie), Allycia Angeles (Morales), Maggie Cooper (Judy), Laura Williams (Val), Chloe Fusco (Bebe), Mimi Yoshii (Connie), Jemma Allen (Kristine), Maya Miller (Maggie), Jenny Allard (Sheila), Lachlan Stieger (Paul), Liam Phillips (Mike), Junxiang Huang (Ritchie), Billy St John (Gregory), Ris Mosel (Al), Benjamin Johnson (Bobby), Teagan Garvey (Mark) and Anton Schrama (Don).

The dancing cast are Elise Morriss, Kuan Teoh, Shivawn Young, Jade Patrick, Sophie Schwab, Adele Pepper and Laura Shelley.

Musical highlights of the night include - ‘I Hope I Get It’ (whole company), ‘I Can Do That’ (Mike), ‘At the Ballet’ (Sheila, Bebe and Maggie), ‘Hello Twelve, Hello Thirteen, Hello Love’ (Mark, Connie and Company), ‘Dance 10 , Looks 3’ (Val) and ‘The Music and the Mirror’ (Cassie) and of course ‘One’ (company).

Dialogue highlights include - Mark’s discovery of his body maturing, Zach and Cassie’s emotional clash in Act 2 and Mark’s monologue in Act 2 (the highlight of the evening for me). Not to forget the wonderful line “What do you want to be when you grow up? Young!”

While the musical is now almost 48 years old, its messages of inclusivity and being true to oneself still ring true in theatre and in life. The Gilbert & Sullivan Society’s production has captured just that, thanks to a talented production team and cast.

A Chorus Line is an important piece of musical theatre and this production does it proud and deserves a season of full houses!

Barry Hill OAM

Photographer: Ahsan Qureshi (proshotsbyaq)