And over the course of two hours, as the dancers each get a few moments of spotlight time-whether through Nicholas Dante and James Kirkwood’s dialogue, or Marvin Hamlisch and Edward Kleban’s songs-their individuation shatters the illusion of sameness that musical theater ordinarily demands of its choruses. Since Zach (Tony Yazbeck) is seated at the back of the theater, the dancers are effectively revealing themselves directly to the audience. After the pulse-pounding opening sequence-which famously ends with the auditioners’ nervous faces hidden behind their black-and-white headshots-the 17 remaining dancers, competing for eight slots in the ensemble of Zach’s show, must answer the director’s probing questions about their personal histories and their innermost hopes and fears. Through so reverent an account, A Chorus Line inevitably becomes a period piece, rather than the contemporary behind-the-scenes theatrical reportage that it represented 40 years ago.Įven so, the show remains an enormously powerful and affecting piece of work: one of Broadway’s all-time greats, with more kick than most other shows combined. Aldredge and set designer Robin Wagner are recreated with minimal tweaking.
The iconic looks created by costume designer Theoni V. As in the show's 2006 revival, Bob Avian, who co-choreographed the 1975 version, inherits directorial duties original cast member and assistant choreographer Baayork Lee is in charge of the dance. Notwithstanding its Pulitzer Prize, the show’s greatest strength has always been the singular, sensational vision of its creator and first director-choreographer, the late Michael Bennett, and the new production meticulously reproduces the look and feel of the original. “Again!” might as well be the motto of Encores!'s lovely revival of A Chorus Line at New York City Center. And for an instant, the show explodes into high gear-only to retreat, teasingly, into the auditioners’ uncertainy once more. Soon, after a few more tries, they are ready to show off what they have learned, grabbing onto a thrillingly dynamic snatch of dance. As barked by Zach, the dogged director of an upcoming Broadway show, “Again!” is not an observation, but an order: He is commanding the two dozen dancers auditioning for him to repeat the jazz combination he has been teaching them.
The first word of A Chorus Line-“Again!”-pulls you right into the action.
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