Repertory Theatre’s Harriet S. Jorgensen Theatre. Photo by Tim Brown.
You can’t go wrong deciding to
board the iconic American musical “A Chorus Line.” Since its opening on
Broadway in 1975, the show, with music by Marvin Hamlisch, lyrics by Edward
Kleban and book by James Kirkwood, Jr. and Nicholas Dante, with original
choreography by Michael Bennett, has been an audience favorite, with several of
its songs – “What I Did Love” and the signature “One” – and its corresponding
choreography -- entering the American psyche. Thus, the musical, which one a
hat-full of Tonys the first time around -- was a smart choice for the
Connecticut Repertory Theatre up in Storrs
to make to open its 2014 Nutmeg Summer Series, which will also include “The
Sunshine Boys” and “Gypsy.” By and large, the show is as entertaining as ever,
but there are some questions – some technical, others having to do with the use
of one of the show’s leads – that had some in the audience scratching their
heads.
For those who have been in a coma
for the past four decades, the show deals with the aspirations of 17 dancers
(know as “gypsies” in the trade) trying out for a Broadway musical. On an
almost bare-bones stage, the seventeen literally and figuratively toe the line
as they are put through their paces by Zack (Nick Lawson), the show’s somewhat
demanding director, and Larry (Sean Jones), his assistant. As the dancers learn
the routines, they are also asked by Zack (who is, for most of the show, just a
voice reverberating in the theater – a demigod of sorts) to reveal something
about themselves. It’s these revelations (based loosely on taped workshops with
real dancers held in 1974) that give the show its meat, for without them it
would be little more than a revue or an up-dated “42nd Street .”
The aspirants all come from
different backgrounds, with two of them, Cassie (Lori Ann Ferreri) and Sheila
(Annie Wallace) being the “old’ pros – they’ve been through the mill, with
Cassie, who once lived with Zack, having almost achieved a sort of stardom. The
other 15 dancers still, by and large, have stars in their eyes. Most of the
cast is made up of college students or those who have recently graduated, and
by and large they do a quite admirable job. Special note should be taken of
Kristin Devine as Val – her rendition of “Dance: Ten; Looks: Three” (it’s the
“tits and ass” song) has a light, saucy, humorous quality to it that made the
audience light up, as well as Wallace as Sheila – she gives just the right
touch of world-weariness to the character, a weariness that belies her love of
what she does. Then there’s Alanna Saunders as Diana – her “Nothing” is dead-on
and quite moving, and although she struggles just a tad with “One,” the
audience responded with well-deserved appreciation. The fact that most of the
cast is, in fact, composed of young dancers/actors on the brink of their
careers gives the show a certain sparkle and touching relevance. You can’t help
but wonder where, or if, you will see these faces in two or three years – who
will make it and who won’t.
Thus, the evening is well worth the
trip up to Storrs .
There are several things, however, that you will have to let pass. The first is
the size of the stage itself – it barely contains the 17 actors when they are
lined up stage right to left, thus giving the “on-the-line” scenes a certain
cramped feeling, with the dancers seeming to be jostling each other for elbow room.
Next is the lighting (designed by Greg Purnell). I attended opening night, and
perhaps some kinks were still being worked out, but there were times when the
follow spots seemed to be searching for the actors they were supposed to be
illuminating, and other times when the actors seemed to be missing their marks
by a step or two – especially in the “At the Ballet” sequence -- thus putting
themselves into half-shadows. Perhaps one more day of tech rehearsal (boring as
it is) might have been in order.
The final thing you will have to
let pass is how Ferreri, as Cassie, is used. A Broadway pro, Ferreri often
seems to be disregarded (intentionally or not) by director/choreographer Cassie
Abate. In many of the dance numbers, though Ferreri is clothed in a bright red,
eye-catching dress, she seems to inevitably end up far up-stage, behind the
other dancers, as if Abate is trying to hide her. Then there is the supposed
amorous relationship between Cassie and Zack – the two speak the lines but you
never get the sense that there was ever anything between them more than an occasional
shared cup of coffee; it’s the director’s job to sense when chemistry isn’t
working and do something about it. Finally, in the “What I Did For Love”
number, Abate has Ferreri blocked extreme stage left – she is visually removed
and aloof from the emotion being expressed in the song by the rest of the cast
– in fact, she looks more like an appreciative parent listening to her children
– she’s given absolutely nothing to do but just stand there throughout the
entire number.
Yes, the negatives may seem like
mere quibbles, but taken in sum they affect the overall feel of the show, a feel
that says the show has yet to truly come together. And yet, it’s “A Chorus
Line,” so you can’t help but respond to all those dancing feet, tipping hats,
heartfelt stories and youthful exuberance. This may not be a perfect show, but
you will be entertained, especially if you enjoy seeing young, talented actors
taking their first, tentative steps into a world that may hold disappointment
or…stardom.
The show runs through June 14. For
tickets or more information call 860-486-2113 or go to www.crt.uconn.edu.
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