Conceived, Originally Directed and Choreographed by Michael Bennett
Book by James Kirkwood and Nicholas Dante
Music by Marvin Hamlisch
Lyrics by Edward Kleban
Review by Dominic Corr
Seventeen hopefuls. Eight spots for a chance at stardom. Each has a different story behind them in their bid to join in A Chorus Line for the ages; the only thing we know for sure is that they all really hope they get it.
Offering more than a peek behind the curtains of Broadway, Sadler’s Wells and Jonathan Church Theatre’s hit musical’s production follows a promising cast of seventeen dancers and performers as they duke it out (in style) to impress and convince curt but talented director, Zach, that they deserve a place within the titular chorus line. For some, it’s a chance at stardom; for others, it’s their escape from a brutal life; and for one, it’s their last opportunity to find a place within a show – their supreme talents and skills become unnoticed with age.
Stripped back, the skeleton of the Festival Theatre is predominantly the set-dressings for Nikolai Foster’sre-imagined A Chorus Line, which, after scouring through tapes and voice recordings of genuine auditionees, re-frames the production into the minds and anxieties of those hopefuls looking for their chance at dancing stardom. In many respects, it’s as basic a premise as you could get – the honesty of it all as each performer takes a moment to bare their soul to Zach, played with all the rough edges but evident and powerful presence a director requires by a terrific Adam Cooper.
The chemistry between the more extensive cast is well directed, ensuring that – fittingly – there aren’t many moments where the spotlight is taken away from the ensemble as a unit, unless deliberate, everyone here provides support. But it does allow for stand-out numbers that feel wholly ‘human’ in delivery, less like a scene-robbing solo and more of an expression of self. It’s mainly the case for Jocasta Almgill’s Diana, in a stellar performance that dips between comedy and drama with a relative freshness – and bringing down the house with ‘What I Did For Love’, a real power-play moment which momentarily eclipses those around them.
It’s a similar story for two of the production’s more narrative-centric characters with a touch more meat to the role than others: Carly Mercedes Dyer as Cassie and Manuel Pacific as young dancer Paul San Marco. Dyer’s Cassie often bounces off Cooper with tremendous effect – the pair are a joy to watch in the authenticity of their roles and chemistry, possessing a genuine thread of care, but also has a touch of frustration and aggression in their interactions. Similarly, Copper and Paul share moments where the directors push to force the actor to bare their soul, leading to more volatile moments and intimacy, a needed touch of decorum and stage magic away from the distractions of the screen.
If you’ve ever heard a passing mention that A Chorus Line has one of the finest finales in musical theatre, then seeing it in person solidifies it in all its raw and sparking glory. Brought together again, it enables the cast to showcase Ellen Kane’s choreography in a showstopping manner, away from its previous storytelling usage. From the mournful ghost light to close out the auditions to the fragment of Zach’s past presenting itself once more, Foster’s take on the finale feels haunting in many ways, a reminder of the beauty and impact of theatre, but with the lingering memories of those who didn’t make the cut.
One of the major draws for the production, and something present in a striking number of recent productions, is the incorporation of cameras and live footage of the performers, displayed on a screen hovering to the side of the stage. While striking, enabling Foster to hone further into the desired impact on the auditionees and reflecting back to the personal effects – the large screen, live-linked to a camera on-stage, offers insight into small facial movements and intimacy, even bouts of comedy, but the enormity of it, and the frequent use becomes a distraction before fading into the backdrop as audiences (hopefully) turn their attention back to the real star of the show – the choreography. And that’s where the pulse of the show is, inside Kane’s take on Michael Bennet’s original movement design, and when coupled with some spectacular performances from (to name but a few) like Kate Parr, Ashley-Jordan Packer, Katie Less, or Amy Thornton as a genuinely sharp and attitude-drive Sheila, A Chorus Line may have its dancing shows on, but it truly sings with spectacle.
This is a superb opportunity for audiences to catch the Sadler Well’s production in Scotland – the theatre doors flung open and the beating heart of it all exposed for all to see. The energy on stage is mesmeric; the sparks are not only flying but colliding in the air – while an awe-inspiring feat of performance and discipline of the real star below them. A Chorus Line maintains its position for one of the most impressive endings audiences can witness, with additional weight, all making for one hell of a show, even without the bells and whistles.
Awe–Inspiring
A Chorus Line runs at the Festival Theatre, Edinburgh, until September 28th
Running time – One hour and fifty-two minutes without interval
Review by Dominic Corr (contact@corrblimey.uk)
Lead editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has written for and contributed to several established and respected publications such as BBC Radio Scotland, The Scotsman, The List, The Skinny, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, and The Wee Review. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
