A Chorus Line Review
Why the Los Angeles Production of Classic '70s Musical Still a Hit
Jun 21, 2008
When the original version of A Chorus Line debuted in the early 1970s, audiences and theater lovers were stunned by the raw and realistic show. Performers gave it their all and bared their souls on stage in Michael Bennett’s behind the scenes look at the Broadway casting process. But in the current arena of shocking, sex-filled shows like Rent and Spring Awakening, can this classic stand on its own two dancing feet? The answer is a resounding yes. Although the choreography is still clearly the original steps, complete with disco feet and jazz hands, the story and characters are timeless.
The Ahmanson Theatre in Los Angeles has staged the celebrated musical, which opened May 21 and will run through July 6. The cast is cohesive and their kick lines are astonishingly in sync. But the best and most impressive part of the ensemble show was the one semi-lead, Cassie, played by Nikki Snelson. Snelson, an accomplished Broadway veteran of Legally Blonde fame, brings a passion and heart to the show that is incomparable. Without her amazing and electrifying dancing in “The Music and the Mirror,” the second half of the show would have dragged.
While each cast member auditioning for ‘the line’ gets their own number, there were some performers who definitely stood out from the pack. Diana, played by Gabrielle Ruiz, was a tour de force in the song, “Nothing;” while Sheila, played by Emily Fletcher, delivered several lines that zinged throughout the dialogue. The unison dancing continues to be one of the most impressive and skilled components of the show. The last number, “One,” is perhaps the most famous tune from A Chorus Line. The cast certainly delivered a perfect performance of the song.
The set, designed by Robin Wagner, and the lighting design, by Natasha Katz, continue to make the show one of the most original and eye-catching scenes in theater history. Mirrors line the back of the stage, and are rotated to create interesting formations throughout the songs. The result is a Busby Berkeley-inspired conception.
The only complaint about the show would be the lack of an intermission. The audience seemed to be audibly shifting in their seats by the second half. The talented performers deserved complete attention, and a brief intermission would have kept viewers focused. Overall, though, the cast and their immense talents produced a not-to- miss show. It doesn’t matter how long ago this show was created—it will forever be treasured and appreciated for the originality and excitement it has produced in the realm of American theater.
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