Revived on a grand scale, the UK tour of A Chorus Line retains all the heart of the 1975 original, refreshing the orchestrations and staging to spectacular success.
For almost fifty years, A Chorus Line has been basically done in the same way, either as a replica of the original Michael Bennett direction and Bennett and Bob Avian choreography or at least closely based on this. This revival, which originated at Curve Theatre, Leicester in 2021, presents A Chorus Line as if it was first produced today; the 1975 setting of James Kirkwood and Nicholas Dante’s book is preserved but the music and staging are thrillingly updated.
Working with designer Grace Smart, director Nikolai Foster retains the on-stage setting but fills the space with much more of the items that would be on a Broadway stage – bleachers, chairs, lighting and sound crates, scenery flats, and massive scenery boxes. In a clever touch, the scenery boxes rotate to show the hidden band of eight musicians. The stage is large enough for a side desk and chair, where director Zach often sits given that he is less often at the rear of the auditorium.
In a visual touch that is unrealistic for the period but works for a modern production, director’s assistant Larry often points a hand-held camera at the auditioning dancers, their images displayed as a live feed on a large vertical LCD screen on the back wall. This conceit particularly brings to life the small asides of dancers that are sung when another character starts to mime their downstage monologue.
Lighting designer Howard Hudson increases the spectacle with multiple lighting rigs that move into place for various numbers. This could potentially be interpreted as a lighting designer at the theatre playing with lights for the show that is being auditioned. A standout effect is a set of five strips of white light that replicate overhead the image of the chorus “line” on the stage.
Musical supervisor David Shrubsole has contributed new orchestrations, which bring a new feel to Marvin Hamlisch’s music. This is first noticed in Mike’s song “I Can Do That,” still upbeat but mellower, and again in Diana Morales’ “Nothing,” which is still as dramatic but sounds fresher overall.
Working closely with Shrubsole is choreographer Ellen Kane, who responds to the changes in feel of the music with different choreography than usually seen. Overall, there is also far more choreography, with the dancers frequently moving away from the “line” to dance through more numbers. Mike’s choreography has more soft shoe along with the acrobatics. Kristine and Al have an elaborate routine for ‘Sing,” and the “One Rehearsal” and “Tap Dance” sequence is all new.
All of the new aspects come together in spectacular fashion for the finale “One.” After the audition, the show cloth scrim comes down and the show appears to be over as Zach turns on the ghost light. Zach sees a single gold hat hanging in view, plucks it from the wire and begins a dance routine as if remembering his time on the stage. Completely changing tradition, the dancers chosen for the show do not enter first but rather the men begin the number on stage, with the women all entering after the first verse. Extended choreography sees pairs of dancers come centrestage for featured moments, The number builds in dazzling style, with dozens of gold theatre lights coming into view, pyrotechnic sparks shooting up from the stage and down from the flies, and fluttering gold tinsel released for the climactic kick line. The combined effect succeeds in leaving the audience on a giddy high.
Having a strong connection to the Sadler’s Wells stage, Adam Cooper brings additional weight to the role of driven director Zach. Cooper brings out Zach’s empathy for dancers, showing him always keenly listening to their stories and pushing them for what he knows they can achieve. Cooper shows Zach as deeply affected by his argument with Cassie, only breaking out of this funk to respond to Paul’s accident.
Carly Mercedes Dyer is a glamorous Cassie, singing up a storm and delivering a compelling dance solo in “The Music and The Mirror.”
The ensemble cast is filled with true triple threats, testament to the fact that performers today receive far more rounded training than when A Chorus Line was first produced.
As Mike, Redmond Rance sets an extremely high standard with the first solo number “I Can Do That.”
Jocasta Almgill brings a centred energy to Diana, nailing the emotional arc of her big number “Nothing” and also speaking for dancers with “What I Did for Love.” Manuel Pacific fully engages the audience, along with Zach, as Paul vividly tells his backstory.
Performed with no interval, the almost two hours of A Chorus Line fly by in a haze of emotion and enjoyment. This is integrated dance and musical theatre of the highest order, highly recommended for lovers of both forms.
A Chorus Line plays at Sadler’s Wells, London until 25 August 2024. For tickets, click here.
Photos: Marc Brenner