A Chorus Line is both phenomenal and inspirational. The newest play being shown at PlayhouseSquare is A Chorus Line, directed by Michael Bennett. The show takes place during an audition for a new Broadway musical. Seventeen men and women have auditioned and are being considered for the roles of dancers in the chorus of a Broadway musical. Each dancer’s life story and the reason why they need this job is beautifully portrayed through music and dance. This Pulitzer Prize and Tony Award-winning musical is one of Cleveland’s must-see shows this year! Nikki Snelson, who plays the role of “Cassie,” gives an award-winning performance. Snelson recently retired from playing the role of “Brooke” in the original cast of Legally Blonde on Broadway. Her performance is mesmerizing as she dances and sings her way into the audience’s hearts throughout the show. Kevin Santos, who plays “Paul,” is memorable in the role. His vocals and dancing are uplifting as he hits every single note beautifully. The scenery, while simple during most of the show, is spectacular during the finale, especially as a backdrop against the casts’ dazzling gold costumes. A Chorus Line will be playing at PlayhouseSquare from October 14 – October 26, 2008. Tickets are on sale now at http://www.playhousesquare.org or by phone at 216-241-6000.
From STAR Reporter Hilary Blank
Why would anyone go into show business? From the cut-throat competition and grueling auditions to the satisfaction of following passion, the award-winning musical A Chorus Line, reminds us why. The musical follows 17 dancers through a brutal audition for parts in the chorus of a Broadway musical. The characters are at the audition because they love to dance. They are in showbiz because dance is their passion. As characters reveal their lives, past and present, it is clear that dancing is all they have and that pure love for dancing is why they are in show business.
After the characters were asked a few surprise, personal questions in their audition, I sympathized for them. I admired them for following their passions and felt for them and their pain in the past, but I was not in anyway inspired by them as I thought I would be. Many of the characters had particularly rough journeys to get to be dancers. They told stories that were full of emotion, but because of they way the stories were ineffectively presented, through song, they were not as sensational as intended.
Overall, A Chorus Line did not have much to offer musically. Many of the songs were comical and occasionally catchy, but none were particularly memorable. The lyrics often got repetitive and actors seemed to be more interested in their dance performance than their singing, which was in a way fitting as it is a musical about dancers.
As this was a musical about dancers, it was not completely surprising to find that the choreography by Michael Bennett was the most entertaining part of the performance. Together the skill of the actors and of the choreographer created an incredibly entertaining show. The actors in A Chorus Line were able to gracefully portray that they had just learned the dances they were performing (missing a step, turning too soon, jumping at the wrong time etc. at exactly the right time) adding to the impression that the characters were in an actual audition. Even with these intentional glitches, the dance performance was still gracefully beautiful. And of course, in any musical about musicals, kick lines were not in short supply: the finale boasts a total 36 high kicks per cast member, always an effective technique to entrance the audience!
The minimal set was very effective in keeping up the illusion of being in an actual audition. Zach, the director of the musical who is auditioning the dancers, voice is projected from the back of the theater giving the impression that Zach is watching and critiquing the auditions from the audience. Also effectively used to recreate an actual audition is a full-backdrop sized mirror. The mirror reflects the audience, the stage lights, and the dancers. By reflecting the theater, the mirror reminds the audience of what the dancers see as they are auditioning.
"The Best Musical. Ever."? Maybe not. The best portrayal of the rough life of a chorus line dancer? Yes. With its mesmerizing dance numbers, still fresh jokes, and relatable characters, the timeless musical, A Chorus Line, was definitely an entertaining show that will make you happy you did not pursue dancing in Broadway musicals.
From STAR Reporter Adrienne Nelson
A satisfactory revival of a remarkable show: An audition is certainly no stroll in the park, and Michael Bennet does an extremely good job of reminding us of that. The compilation of past stories and an extraordinary musical score reminds us of the difficulties of landing a job. Whether its front and center or back in the chorus, if there is any way to make a buck, people go for it.
But behind all of this hype and glamour, the revival of A Chorus Line was no jaw dropping experience. Most of the singing was off for many of the numbers, and a few of the actors couldn't really hit a note. Ironically in the number "Sing," a number about a girl who couldn't sing, while her boyfriend sings the song and she dances, Al, (played by Colt Prattes) the boyfriend, could barely reach every single note. The volume of the chorus was so dependent on microphones; it almost seemed as if the orchestral microphones had to be lowered. The vocal quality was not that of what one would expect of such a well acclaimed show, revival or not.
The bad pitch issues and weak vocal technique did not go well with the unrealistic character background stories. There were a few who presented a very realistic and believable story, primarily Val (played by Natalie Elise Hall) telling of her struggles to look pretty and Paul (played by Kevin Santos) just trying to be accepted, but for the rest of the cast, it was not that difficult to remember that this was all scripted and one could easily realize that. Diana (played by Gabrielle Ruiz) is suppose to tell of her hardships through high school and trying to become an actor, but quite honestly it did not seem like she was speaking and singing from "the bottom of her soul."
The very cliché frantic behavior to show nervousness seemed to be very popular amongst the cast. But after about listening to about three scared to death, jumping all over, nervous characters, everything became very boring. On the other hand, the dancing was very superb. The choreography of Bob Avian is not the easiest routine in the world. I must admit that everyone did a fantastic performance while dancing. Flips, turns, kicks, everything, was all in unison and precise. Cassie (Nikki Snelson) did an amazing solo routine trying to convince the ever so stern director Zach (played by Michael Gruber) that she needs this job even though she is better than the chorus. And of course, everyone is amazed with the finale. The huge kick line of 36 kicks, with the sparkling costumes, caps off the night with a high note. Yes, the dancing was spot on, and the music was great, but that was about it. There was nothing special, nothing that would bring back memories of the original performances. This was a singular event with very little sensation.
From STAR Repoter Alex Neidert
A Chorus Line is One Singular Sensation: From the opening number to the final dimming of the lights, A Chorus Line was a spectacular production. With stunning choreography that literally has you on the edge of your seat, it’s impossible not to be mesmerized from the very beginning.
Playing at the Palace Theater, A Chorus Line is playing through October 26. It is most definitely a show you will not want to miss. Winner of nine Tony Awards, including best musical, it is one of the longest running shows on Broadway.
In this musical, an audition is taking place where each and every dancer really needs the job. Throughout the audition, each person’s story is told, and by the end, you truly want each and every one of them to make it.
Each dancer was able to show off their own talent while not disturbing the balance of the group as a whole. Anyone who appreciates impressive dance, especially with a large group, will fall in love with this musical. With the mirror-backed stage and the ominous voice of the director, it is easy to become so absorbed that you forget you aren’t at a real audition. It has become a rare thing to see truly good dance live. This kind of performance could never be replicated in a high school musical while giving it the full respect due to it. Being a production you would expect to find only on Broadway, it is especially special to find it right here in Cleveland.
From STAR Reporter Claire Weibel
Have you ever felt rejected? Have you been afraid that if you mentioned anything about yourself, someone would use it against you? In the world today, people tend to judge other people by their actions and their past. Wanting to feel accepted plays a big part in what we say and share about ourselves. We would rather hide all our feelings than let the world see them, because we are afraid that others will come to the wrong conclusions. The characters in the play A Chorus Line illustrate for us the inner struggle we all experience in regard to our fear of rejection. On October 14th I had the ability to see A Chorus Line live at PlayhouseSquare in the Palace Theatre. This play involves seventeen dancers trying out for eight positions and is set in New York City. They are all amazing dancers, but the potential employer Zach, played by Michael Gruber, is looking for more than just skill. He wants to know their personalities, desires, and plans. He begins to dig into their past. As the audience we get to see as the dancers explore their feelings about their profession and their lives.
Although A Chorus Line is a musical the acting is what truly impressed me. Nikki Snelson who played Cassie gave a great performance and brought a deeper meaning to the production. She truly had my sympathy and admiration by the end. Cassie was one of the only characters who knew herself and understood what it meant to love dancing. Snelson seemed to know how to portray Cassie as a strong and sure person. When she had the chance to perform a solo dance I was thoroughly awed. Another character that I enjoyed watching was Paul played by Kevin Santos. He was one of the only characters that had me almost in tears. The way Santos made the audience experience Paul’s pain made him a great actor.
Without using any props or much movement on the stage, Santos showed emotion and passion. I absolutely applaud his presentation. Besides these characters, Richie played by Anthony Wayne also had an impact on me. His voice and dancing were beyond astonishing and when I got the chance to see him act I instantly loved him! The only disappointment in A Chorus Line was that it did not have more acting. It would have been very enjoyable to see the characters more developed and the talent of all the actors showcased.
But the sensational singing improved this minor setback. It is not everyday that a cast can sing as well as they dance. Each actor and actress added his or her own vocal flair to the production. Some had strong voices while others were sweet, but each tone went with the character that the actor was portraying. Whenever they did sing I found it very entertaining.
As always, the Palace Theatre was beautiful! The actual scenery of the musical did not seem impressive at first look, but by the end I was impressed by the lighting and the use of the elements they had. The dancers were the main attraction and did not require many props. The background was mostly a collection of mirrors that wound rotate whenever the people were dancing. The reflection added depth to the stage and the production. The lighting would reflect off the mirrors and make the entire stage light up! During Cassie’s main performance, another set of mirrors also joined the background and provided a spectacular view. Now for viewers who tend to love action and a more defined plot (such as West Side Story) may be disappointed with the lack of special effects and the lack of acting. But one must remember that this play was written in 1970’s and they did not have everything that we have now and therefore looking past that, the overall scenery was unique and creative.
The original musical of A Chorus Line became a hit on Broadway nearly thirty-three years ago, making it one of the longest running American plays of all time. In this new production of the old show none of the script has been changed. This may make it somewhat slow for the younger crowd. But for an older crowd, this classic will bring back many memories. Now don’t get me wrong when I mention “a younger crowd”. I would not recommend this production as a family night out. A lot of the dancers use language that may not be appropriate for children. Also, Val (Natalie Elise Hall) sings a song (Dance: Ten; Looks: Three) that refers to her body being the most important part of a dancing career. She uses very blunt words to describe those body parts. Other small innuendos also appear in A Chorus Line.
Underlying the main plot of A Chorus Line, I found several other interesting thoughts. Most humans in theatre believe that looks are everything, but Zach, the director, is looking for more. He doesn’t care what the people look like. Instead, he wants to know their hearts. Allowing their hurt and confusion to come out are a big part of whether or not they get the position. Zach is not one to judge; he just knows what he wants and the type of people who will accomplish it. This also applies to life. Although most people can see the outside of a person, the soul and spirit are what matter most.
Overall, the dancing mesmerized me and the singing lifted my spirits. But be careful when choosing whom to bring with you to A Chorus Line. The dance numbers can be long and not entertaining for short attention spans. But for the right audience it will be an evening of good acting and great dancing. A Chorus Line was originally directed and choreographed by Michael Bennett with music by Marvin Hamlisch and lyrics by Edward LeKleban. This production was directed by Bob Avian and the Choreography Re-Staged by Baayork Lee. A Chorus Line is now showing at PlayhouseSquare from October 15th-26th. Go to http://www.playhousesquare.com for show times and ticket prices.
From STAR Reporter Danielle Mendheim
Still a “Singular Sensation” Thirty Years Later: An empty stage with a white line on it. A bunch of mirrors. Some people in casual clothes either standing around talking about their lives or doing dance combinations over and over. That’s A Chorus Line, right? Though that is more or less the proceedings of the evening, that description doesn’t even come close to accurately describing the show that opened at PlayhouseSquare on Tuesday night.
Take the opening number, for example. The lights in the theatre dim and the performers file onstage in the dark. Suddenly, the lights comes up as the dancers begin to do what they do best and, like magic, the stage with the white line and some mirrors becomes better than any special effect you’ll see in a theatre today. “I hope I get it,” they all say. Everyone there is desperate to get the job in a Broadway chorus line to do something as spectacular as living a dream or as rote as paying the bills and feeding the family.
The simplicity of the production, which is still set in the year it was written, 1975, is often striking. The brilliant staging and choreography by Michael Bennett beautifully contrasts the starkness of the show, evoking so much emotion from such a simple idea. The show actually started out as a series of workshops in which real dancers told stories about their lives and careers in the theatre. These stories were then applied into the plot of the show, which is dancers at an audition, which we, the audience, witness every part of.
It is a fascinating plot, since we not only get the inside scoop on actual Broadway auditions, but we also get to hear what’s in the dancers’ heads, via an immensely clever device in the show. And we know that the stories and thoughts are authentic, since they mostly came directly out of real dancers’ mouths. The show started off-Broadway, and then transferred to a wildly successful, fifteen-year Broadway run, during which time the show won many Tony Awards including Best Musical and also was awarded the coveted Pulitzer Prize for Drama, which has only been achieved by seven musicals to this date. The show was revived on Broadway in 2006 to great acclaim.
It’s easy to see why the show has been praised so greatly and so often: it’s nearly flawless. The enduring music by Marvin Hamlisch is at times bouncy and other times poignant, and is even noticeable when it’s just underscoring. The music is complemented nicely by Ed Kleban’s mostly funny and always insightful lyrics. The performers all did a great job portraying the dancers with immense heart and realism. Only one exception jumps out in the acting category as not up to par and that is Michael Gruber, who was astoundingly bland as Zach. It really isn’t that tough of a part, since Zach is almost never seen during the middle portion of the show, only heard as a disembodied voice from his unseen place in the theatre where he is watching the audition. His weak acting is especially apparent in his big scene with Nikki Snelson who, as Cassie, delivered the best performance of the evening.
Snelson was on a completely different level than Gruber, and obviously was far more connected to the material. During “The Music and the Mirror,” Cassie’s big solo, Snelson is simply awe-inspiring with her flawless and fluid dancing. Snelson’s wonderful performance is only slightly rivaled by the delightful Natalie Elise Hall as Val, who has the night’s funniest number, with a title I won’t even mention as not to spoil the joke. Also, Kevin Santos’s Paul is spot-on with his heartbreaking monologue late in the show.
The problems within the cast were mostly singing related. Emily Fletcher as Sheila had the bitchy character down to perfection, but left a lot to be desired in the singing department, supplementing what should be a rich, mature voice with a weak, unsupported one. The same goes for Colt Prattes, the worst singer in the cast, which is unfortunate because he otherwise nails the Bronx-bred character Al. A duet with his hilariously anxious wife, Kristine, entitled “Sing!” in which Kristine laments her tone deafness, is unintentionally ironic in this production because neither can really sing, although I suspect Latshaw’s screeching is an act, while Prattes’ is not.
Jessica Latshaw did a great job as Kristine, never letting the character lapse into cartoon territory. Hollie Howard, as Maggie, didn’t have the pure voice to match her vulnerable performance, but did successfully hit the high note in the number “At the Ballet,” which is one of the more vocally difficult spots in the show. Finally, Gabrielle Ruiz as Diana Morales was probably my biggest disappointment. I had high hopes as the show began and her Diana was just cynical enough to hide the feelings inside. Then, when she opened her mouth to sing, the problems began. Not that her voice was bad, but it just wasn’t great, and this was a big problem since she has the most prominent singing role in the show, having to carry two big numbers, “Nothing,” a major part of a phenomenally staged Montage, and “What I Did For Love,” another very memorable song from the show. Again, she wasn’t bad, but she didn’t live up to my initial expectations set by her acting.
The show wraps up with “One,” the high-kicking chorus number that everyone seems to have heard at least once before. It is fitting for a show about auditioning for a chorus line to end with a chorus number, and it does so in style. As the lights fade on the kick-line, the exhilaration stays with you as you mosey into the lobby, since there are no official bows after the finale. As I left, I found myself thinking about the show, about the characters and the themes. This little musical that could from the ‘70’s is still incredibly relevant today. That is why I would recommend this show to anyone. In fact, I would pose a challenge to people to not find at least one issue in the show that doesn’t have a personal connection. It’s truly resonant to anyone, maybe not on the surface, but definitely if you really think about it. The show runs through Sunday, October 26th, and this classy production of a fantastic musical should not be missed.
From STAR Reporter Drew Factor
Dance: Ten, Personality: Three. American Idol used to be good. The thought of plucking a talented singer from obscurity was novel; the viewers returned week after week to learn more about their favorite singers from thirty second montages that showed a brief glimpse into their lives. One-by-one they would be eliminated because, in the words of Ryan Seacrest, “There could be only one American Idol.” Then the producers got greedy. They shifted the focus to the celebrities of the week who would show up long enough to promote their latest single.
How exactly does this relate to A Chorus Line? A Chorus Line, playing now through October 26th at PlayhouseSquare, centers on the gypsies, the dancers who move from show to show and who never receive the fame or recognition that lead actors do. More specifically, this show is about the personalities that are so frequently lost when the dancer assimilates into the chorus. A Chorus Line ran for fifteen years because few shows from then to now have understood the need for the audience to sympathize with its characters, and fewer yet have been effective.
The lights come up on a set that appears to be a minimalist cliché in black. The stage is dark and plain with a lone stool on it. Soon, a group of dancers enter and start repeating their hypnotic routine that continues for most of the show. Eventually, the dancers are invited to speak about themselves and it is then when we are really introduced to them. The direction and choreography by Michael Bennett remains largely unchanged from the original--for good reason. The staging is excellent and the dancing to the Marvin Hamlisch score has become iconic. Perhaps one of the most pleasant surprises is how well the script has held up twenty-five years later. Themes of fame, rejection and self-identity are as relevant today as in the 1970s. Most of the humor in the show is still fresh and relevant; the STD and prescription drug jokes were particularly well received although some jokes -- a Tina Turner reference comes to mind -- were stale.
The 17 members of the ensemble cast are all talented dancers, but most have minimal vocal ability. During the first number, some actors seemed to rush and sing their lines off-beat. Both of the males with Brooklyn accents were forgettable and difficult to comprehend. Some roles were just better acted than others. Kevin Santos, who plays the role of Paul, is given the most emotionally demanding moment of the show when he delivers the monologue that defines his character‘s back-story. Despite the strengths in his performance he had a slight pronunciation issue where he had diction that was overemphasized and became slightly robotic towards the end of is phrases.
Pay no attention to the man behind the curtain; Michael Gruber is one of the most uncharismatic actors ever to not appear on stage as the frequently disembodied voice of the director. Gruber plays the character of Zach so one-dimensionally that when he does appear on stage he worsens the performance of the actors who surround him. During Cassie’s solo number, “The Music and the Mirror,” Nikki Snelson demonstrates her talent for dance. Unfortunately, once the scene is over, she must go back to interacting with Zach. The less stage time they spend together, the more realistic their relationship appears.
Is A Chorus Line “the best musical. Ever?” No, but it has its moments. Outside the theatre, after the show had concluded, a group who had seen the original show was discussing what had changed since they had first seen the show. “There was more profanity this time around.” More speech and less character.
From STAR Reporter Drew Scheeler
A Chorus Line is a dazzling musical about 17 hopeful dancers whose desire is to be a dancer in the chorus and make it to Broadway. Only four lucky girls and four lucky guys will be chosen to make it! Each ambitious dancer will tell their life story and the reason why they need to be one of best 8 to go to the big time. Not only do they need to tell their life story and the reason why they need to be in the chorus line, but they also have to show off their stunning dance moves and have incredible singing voices to impress “Zach,” the talent scout played by Michael Gruber. This successful play made its first appearance May 12, 1975 at the Newman Theater, following performances at the Broadway Shurbert Theater the summer of July 25th. The play opened in other theaters and became a popular Broadway Play October 19th that same year. This exciting musical won the Pulitzer Prize for drama and Tony Award for the best musical, score and book, as well as the N.Y.C. Drama Critic's Award.
This musical is different from others in that most musicals clearly define one scene from another. The story mainly centered in the same place and time and offered very little variation other than a “studio” surrounding. In A Chorus Line, the play is set in a dance studio with reversible mirrors that changed from a black background then back to mirrors. The finale was set to a spectacular background that's yellow with a cascade of sparkling glitter design! The characters in this play remain in a unvarying position unlike other plays I have seen where characters often change position. They remained in a line up for most of the play, typical of a line up or audition.
The dancing in this musical was marvelous! Each dancer showed a great amount of energy and excitement! Clyde Alves, who played “Mick,” was one of the finest dancers in this play! He had so much passion in his dancing and so much dynamic moves that he just blows the socks right off your feet! Although there were great dancers, a couple didn't “line up” when they danced. Like Nikki Snelson, who played the hopeful dreamer “Cassie,” looking for a job in dancing. Snelson was great when she had to play Cassie trying to show Zach that she was indeed good enough to make it to the top without being the star. When it came time for Cassie to dance and give it her all, it seemed a little more daft than stimulating. She seemed to portray the same moves and appeared redundant. She didn't give you the goose bumps of a great performance.
Not only did this play have great dancing, but the music was very amusing. It was fun and made you want to laugh and dance. The one song that stood out the most in the play was 'I hope I get it," an exciting song which portrays what’s in the mind of all these dancers. It was also entertaining because when they messed up, they actually would say what was on their mind! Another great song that was full of humor and truth was, “Hello Ten Hello Thirteen, Hello Love," a song that talks about the adolescent years of the dancers. It was so hilarious because they presented well what most teens typically go through. The music was jazzy and fun! It really showed the classic musical side of Broadway!
The actors put on a great deal of outstanding and emotional display of their character's personality. Although this play had wonderful actors, some didn't put much effort in the tone of their voice. At times it was hard to comprehend what some of the actors were trying to say. Kevin Santos who played “Paul,” a young man who struggles with his sexuality and his dark past showed great emotion in his face and body, but when he tried to explain his childhood, you could barely hear what he was saying. I also enjoyed Stephanie Gibson who played “Judy,” one of the dancers who played a ditsy and clumsy young women. She was funny and played a great Judy! All the actors were humorous and had a tremendous amount of admirable acting skills. A chorus line is a different style of play from most that I have seen. If you see this and this is your first play, you may not enjoy it much. The play was good but not great. I see this play as one whom would appeal to an older, more mature audience. A chorus line is a decent enough play to see, just not a memorable one. A Chorus line opened October 14th, 2008 and runs through October 26th!
From STAR Reporter Iesha Wright
A Chorus Line at PlayhouseSquare -- A Must See: Let's be honest; I wasn't exactly expecting that much from A Chorus Line when I took my seat in the Palace Theater last Wednesday. All I'd heard about the show was that it was about a dance audition. What a boring concept, right? Wrong.
A Chorus Line is a captivating show about perseverance, determination, adversity, and success. Each of the characters in the show is a unique individual. Each character has his or her quirks, and none are boring.
A Chorus Line could be said to be a metaphor for the need to persevere. Every character goes through tremendous hardships during some point in their lives, and they all come out on top.
Kevin Santos was outstanding as Paul. Besides having one of the most interesting characters in the show, Kevin Santos presented heartfelt lines and earnest movements.
As well as a deep and symbolic plot, A Chorus Line exceeded expectations in the choreography department, delivering such seamless choreography that I couldn't help but to shake my head in wonder at it.
The only scenery is a set of rotating panels used to indicate the mirrored wall of a dance studio, the blank wall of an audition, and others. Despite the lack of an elaborate set, A Chorus Line 's scenery was detailed enough to clearly convey the setting, while being simple enough not to be distracting.
A Chorus Line features some very entertaining numbers, the most powerful of which was the haunting "At the Ballet", sung by Emily Fletcher (Sheila), Pilar Millhollen (Bebe), and Hollie Howard (Maggie). Also entertaining was the first song of the show, "I can do that," sung by Clyde Alves as Mike. This song still stands out to me as joyful and very characteristic of the show.
Still, A Chorus Line was not a perfect show. Some of the singing was nasal to the point of being irritating and the actors need to enunciate better on the group songs - I don't think I made out more than a handful of words from any of the large chorus numbers.
Despite these flaws, A Chorus Line was one of the best shows I have seen all year and was extremely memorable. For about half an hour during the second act of the show, I was drawn into the story, forgetting everything else. My body may have been sitting in a seat in PlayhouseSquare, but my mind was soaring within the story of A Chorus Line.
From STAR Reporter Jacob Oet
A Chorus Line: What it did for love: Usually when I go to the theatre, I measure how much I like it by how many times I check the time, a system my dad taught me at the tender age of seven. As I sat in the Palace Theatre Tuesday night, I had no idea what to expect. I had heard of A Chorus Line, written by James Kirkwood and Nicholas Dante at a New York theatre workshop. Marvin Hamlisch wrote the music, and the lyrics were wonderfully written by Edward Kleban. I clearly remember dancing to "I Can Do That" when I was 6 and in various youth theatre revues, high-kicking down the field in my field hockey uniform singing "One" and twirling my stick as if it were a cane, and singing "What I Did for Love" in my math class with my friend, Brandon.
Even though I only knew three songs from A Chorus Line, I had no idea what was the show about. Just before the lights went out and the opening number was about to begin, one of my fellow reporters quickly summarized the plot for me. He said there was no scenery, save for a row of tall revolving mirrors. The only costume change was at the end of the show for the finale. He told me that not everyone made it, and there would be no intermission during the two-hour performance because it was supposed to be like a real audition. A real audition, as we all know, has no intermission. The lights finally went out, and the first notes for opening dance sequence began.
I went almost the whole show without checking the time, until it was the scene about Cassie, played by Nikki Snelson, and her confrontation with ex-boyfriend Zach, amazingly portrayed by Michael Gruber. I had no problem with Mr. Gruber, having heard and seen him in Cats, but Ms. Snelson did not seem to breathe enough life into Cassie. Like Cassie herself proclaims, she "can't act." I understand that in the scene she was supposed to be distressed, but the performance was not genuine but was forgettable. Despite that, her dancing was quite exceptional, and she did a splendid job during the "Music and the Mirror." Also, I thought that Pilar Millhollen, who played Bebe, did not, as Diana once sang, give a good performance "from the bottom of [her] soul." Her attempts to be funny failed, and she had a rather annoying voice that was quite nasal and, especially during her solo in "At the Ballet," she gave off the feeling like she had better things to do than performing in the National Tour.
However, there were several actors who I thought went above and beyond their roles. Kevin Santos played the part of Paul. During his long monologue, Paul tells Zach, the director, about his past as a drag queen dancer. Mr. Santos put every ounce of himself into each word he uttered, and even forced to a little bit of tears. He made me forget that I was in Palace Theatre in downtown Cleveland, and that I was in New York, sitting next to Zach in the empty Broadway theatre, listening to his enthralling tale. Emily Fletcher portrayed Sheila, and she danced very well and was very humorous as she said her lines -- whether it was about Sheila's mother, her "almost 30" jokes, or her myriad of flirtation attempts with Zach,or his choreographer, Larry. Finally, Jessica Latshaw was hilarious as Kristine, the tone-deaf chorus girl. Throughout her song, "Sing," I couldn't help but picture Pierce Brosnan being in the same situation when he sang in the movie of "Mamma Mia!" Ms. Latshaw is a very talented dancer and provided great comic relief. And I'm sure she really is a wonderful singer. :)
Overall, I thought A Chorus Line was a very well done production. Most of the acting was excellent, and the dancing was outstanding! I could see the stage action very well from my seat. I would recommend this show even to my critical father, who's favorite movie has not changed since "1776" came out in 1972, telling him that even he wouldn't check the time. Well, maybe once.
From STAR Reporter Robyn Marcs
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