"A Chorus Line" is an electrifying production that transports you straight into the heart of a 1975 Broadway audition. Conceived and originally directed and choreographed by Michael Bennett, with music and lyrics by Marvin Hamlisch and Edward Kleban, and a book by James Kirkwood and Nicholas Dante, this show remains a timeless classic, and the On the Boards Theatre Company delivers it with flair and finesse. I'll begin this review by urging you to act fast and secure a ticket NOW before they close tonight. The theatre is spacious, much bigger than expected, and the audience should be at full capacity in my honest opinion.
Synopsis:
Set in the mid-70s, the story unfolds during an audition for a new Broadway show. Zach, the director, and his assistant Lori (portrayed by Mikaela Drewett), select 17 dancers from a sea of hopefuls. Zach must eventually narrow it down to just 8 individuals – four men and four women. However, before making his decision, he wants to delve deeper into their personal lives to gauge how well they can work together. The dancers, initially reticent, gradually open up through a series of songs, dances, and monologues that reveal their motivations and struggles. As auditions draw to a close, Zach faces the tough decision of choosing the members of his chorus line.
Creative Team and Cast:
Under the leadership of director Lyn Pelgrave, choreographer Sarah Cooper, and musical director Robert Clarke, the creative team has put together a performance that is not only impeccably executed but also profoundly moving. The remarkable cast, a mix of seasoned performers and promising newcomers, is brilliantly selected by director Lyn Pelgrave. Many of them are studying musical theatre or are graduates, with experience spanning from local stages to international performances, including the Disney company. Each performer must excel in dancing, singing, and acting, embodying the true essence of a triple threat. Fortunately, Brisbane is abundant with such versatile talent. Whether executing energetic dance sequences or powerful vocal solos, every cast member rises to the occasion. Their clear articulation in authentic American accents ensures that the audience follows every story clearly.
While the cast's vocals are generally terrific, with the Australian accent occasionally peeking through, the overall musicality remains strong. The entire cast's dedication is clearly visible as they give their all throughout the performance. Despite the demanding nature of the show, which requires substantial endurance, they remain undeterred. Every scene is well-rehearsed and polished; and if there were any mishaps, they went unnoticed. "A Chorus Line" boasts a phenomenal score and book, cementing it as a no-skip soundtrack that should be embraced by more theatre companies, in my opinion. Despite its 1975 origins, this Tony Award-winning musical remains engaging and relevant with today's audiences.
Performers:
As the audience settles in, the stage buzzes with activity, mimicking the atmosphere of a Broadway dance call. The dancers, already in character, stretch and chat, giving the audience an immediate sense of their personas. The set features four movable mirrors and the distinctive line across the stage floor that becomes the focal point of the show. The costumes, inspired by the 1970s era, instantly transport the audience back in time, setting the stage for an evening of nostalgia and emotion.
The show kicks off with the iconic "5, 6, 7, 8," and the original choreography, faithfully reproduced, instantly connects with any musical theatre aficionado. "I Hope I Get It" delivers a surge of excitement, concluding with the cast of 17 lining up in their characters' poses to reveal a glimpse of their personalities from the get-go.
Doll Hunt's portrayal of Zach, the director orchestrating the auditions, is palpable. Even though he spends much of the show standing at the back of the theatre, his commanding presence is noticeable. His voice fills the space, prompting the cast to project their performances to the upper back of the audience. He guides the dancers through their paces and occasionally steps forward into the light to heighten the drama of key moments. Despite his physical separation, Hunt’s portrayal of Zach is intimate, revealing his deep understanding of dancers' aspirations and vulnerabilities.
The show's structure allows each performer a moment to shine, and the cast makes the most of these opportunities. Patrick Davis shines in the role of Mike, delivering the first solo "I Can Do That" with a burst of energy that sets a high bar for the rest of the show. His background as an actual Broadway-trained dancer is apparent in his flawless execution and charismatic stage presence.
The trio of Sheila (Cassidy Newell), Maggie (Sophie Jamieson), and Bebe (Hannah McNamara) come together to deliver "At the Ballet" with beautiful harmonies and moving storytelling. Newell’s Sheila is magnetic, her flirty exterior masking a deeper vulnerability. Jamieson’s Maggie adds a delicate and enchanting vocal quality touch to the number, while McNamara’s Bebe anchors the trio with her powerful and controlled singing voice. This particular performance stands out due to its intricate choreography and ballet elements taking place upstage.
Ruben Newlands as Bobby and Jeremy Adams as Richie are featured in the song "And...". As Bobby recounts his bizarre story, the other characters voice their inner anxieties, creating a humorous juxtaposition. Newlands' miming contributes to the comedy and showcases the exceptional acting talent present in this production. The married characters Al (Oscar Fisher) and Kristine (Anandi Jordan) bring a delightful interlude with their duet "Sing!" Jordan portrays Kristine with sweet charm, who humorously lacks singing abilities, while Fisher's supportive portrayal of Al creates an endearing dynamic.
Mark, portrayed by the impressive 14-year-old Liam Francis, kicks off the lively and nostalgic number "Hello Twelve, Hello Thirteen, Hello Love." This segment recounts the characters' teenage years with humour and relatable moments. Molly Hitson charmingly depicts Connie's struggles with her height, while Sienna Randall candidly portrays Diana's challenges with acting. Randall consistently stands out in her performances due to her exceptional voice, expressive use of facial expressions and physicality, and extensive dance training. Although I was not familiar with her solo "Nothing," it is a remarkable song that ironically demonstrates her acting abilities. In "Mother," Matilda Hodgen shines as Judy, skillfully incorporating comedic miming and delivering interspersed unhinged dialogue with a flawless American accent. Additionally, Casey Martin impresses in the role of Gregory, sharing a comically awkward moment from his adolescence. Martin embodies the qualities of a musical theatre star in a way that must be witnessed to be fully appreciated. Also featured in this segment, Jacob Keay as Don portrays the charming and charismatic character effortlessly.
Val, portrayed by Madelaine O'Hare, commands attention with ease as she monologues before her solo performance of “Dance: Ten; Looks: Three”. This stands out as a particularly memorable moment, combining humor and charm. It's definitely one of my favourite parts of the show, and if you're familiar with the lyrics, you'll understand why. Victoria Lancaster as Cassie performs "The Music and the Mirror" with grace and strength. Her dance solo, set amidst mirrors and adorned in a striking red dress, captivates both visually and emotionally. This solo showcases Lancaster's actual Broadway training, exuding confidence and expression through her physicality, clear vocals, and beautiful smile.
Paul, played by Harrison Leis, delivers a deeply emotional moment in the show with his raw and heartbreaking monologue about his past. Leis's ability to convey such a traumatic story with grace and sincerity, evoking tears from the character and revealing the compassionate side of the director to the audience.
While rehearsing the closing number, "One," the audience is treated to powerful unison vocals and precise synchronised movements for this iconic top hat routine. Additionally, the tap dancing in chorus heels is remarkably impressive, especially given their exhaustion at that point. As the director asks, "What do you do when you can no longer dance?" the characters are prompted to reflect on their reasons and passion for dancing. Ultimately, the group forms a cohesive bond, mirroring the genuine experiences of the cast, I believe. Sienna Randall leads us into the group number "What I Did for Love," which, in my opinion, stands as one of the greatest compositions in musical theatre. The ensemble's harmonies build up to a poignant and intense peak, showcasing musical director's remarkable skill in blending their vocals. In this number, the cast remains still, relying solely on their voices to express profound emotions.
The final transformation into the iconic gold costumes presents a dazzling display. The intricate choreography and relentless energy, particularly during the closing kick line, serve as a perfect conclusion to an extraordinary performance. The cast's ability to sustain their energy and smiles despite the demanding nature of the show is a true testament to the commitment and passion that epitomises "A Chorus Line."
Technical Elements:
Technically, the production excels. The microphones, with their reverberant quality, perfectly project to the back of the theatre, enhancing the performance's auditory experience. The backing tracks are produced with such high quality that they could be easily be mistaken for a live orchestra. Bryce Delaney's lighting design not only sets the mood but accentuates the emotional highs and lows of the characters' journeys. The deliberate positioning of spotlights to highlight specific characters, as perceived from the director's perspective, has a impactful effect, capturing the audience's focus and adding a dramatic flair.
The modern and accessible-friendly amenities at The Star Theatre (Wynnum) guarantee a pleasant experience for all spectators. The ample seating and excellent sightlines enhance the viewing experience, ensuring that all attendees can fully enjoy the performance.
It is important to remember that "A Chorus Line" was written in 1975, which means that some pop culture references may be difficult to understand. Despite the progress our society has made in terms of acceptance since then, the musical still serves as a tribute to the struggles and successes of past generations of performers. These historical stories emphasise the enduring relevance of pursuing one's passion despite obstacles from society. This staging of "A Chorus Line" goes beyond being a mere performance; it serves as a tribute to the thriving arts community in Brisbane. By featuring performers who have trained and worked internationally, it bridges the gap between local and global theatre, enriching the cultural landscape of our city.
On the Boards Theatre Company has delivered a production that is both faithful to the original and refreshingly relevant. It’s a show that not only entertains but also touches the soul, reminding us of the beauty and pain inherent in the pursuit of our passions. Whether you’re a die-hard fan of musical theatre or a newcomer to the genre, this production should not be missed. It encapsulates the essence of what makes live theatre so special – the shared human experience, the connection between performer and audience, and the magic that happens when a group of dedicated individuals come together to create something extraordinary.
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