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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews
A Grand Chorus Line at CenterStage Reviewed by A.S. Waterman Entire contents are copyright © 2009 A.S. Waterman. All rights reserved.
It's rare to see a local production of A Chorus Line, and with good reason: the prospect of finding a minimum of 17 "triple threats" — actor-singer-dancers who can play the same on stage — is just too daunting. However, Louisville's CenterStage has met this challenge, and with impressive results. Its rendition of the multiple-award-winning musical is a grand success. A Chorus Line is deserving of any theatre's best efforts. It opened on Broadway in July of 1975, and when it closed in April of 1990 after 6,137 performances, it held the record as the longest-running musical in history. The play was born out of a workshop "sharing" session in which a group of dancers met after rehearsals to describe their personal and professional lives. These sessions were recorded, a libretto and book written, and music composed. The resulting show, which incorporated cinematic techniques such as dissolves, "jump-cutting" and montages, changed Broadway history. The play shows us 17 people auditioning for eight coveted slots in a chorus. They all truly need this job. However, the director-choreographer shocks them by demanding that they reveal something about themselves as part of the audition, a trial to which each one submits with reluctance, brashness, shyness or desperation. By definition, a chorus line blends and depersonalizes, suppressing all individuality, yet this strange audition requires them to reveal themselves as individuals in order to make the cut — the ultimate paradox. The inspiration for this groundbreaking production came from its real-life director-choreographer, Michael Bennett, whose simple goal had been to create an appealing story that honored "gypsies," the theatrical term for chorus dancers. He wound up creating a masterpiece. Under the skillful direction of choreographer Sandra Simpson, musical director Justin Hornback and artistic director John Leffert, CenterStage's current production amasses a talented group of performers that give honor to Bennett's work. Of course, not all of the talent levels are equal, but neither are they in real life. Indeed, the performances are so convincing that one can never quite be sure. On Saturday night, audience members in the packed house were captivated as they heard the characters reveal their fascinating stories. They were enthralled with the musical numbers, especially the familiar "One" and "What I Did for Love" while being swept up in the humor, the suspense and the pathos. And certainly, they marveled at the choreography, which challenged the performers to precisely execute each intentional misstep as well as each complex maneuver — no easy task. The result is everything one could desire from a Broadway show. One caution, however: This production is no Oklahoma! or 42nd Street — it contains explicit adult language and mature themes, and parents should consider leaving young children at home. The reviewer must call attention to a couple of recurrent problems at CenterStage, to which the theatre is perhaps becoming overly complacent: notably the too-visible headset microphones, including some which failed to operate or be un-muted on cue, as well as the printed program sadly in need of a proofread. However, these are minor distractions, and like A Chorus Line, a slice of life. This review is being fast-tracked to publication, even bypassing TheatreLouisville's own proofreading cycle, in the hope that you'll see this production before it too fades into history. From the raw chaos of its beginning through the poignant, ironic beauty of its ending, this production thrills while the performers pour each of their hearts into their roles just as the fictional ones pour their souls into theirs. It is a glorious experience not to be missed.
A Chorus Line Posted Jan. 20, 2009
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