Reviewed 1/14/05
On January 12th, the New York Times reported that the three remaining creators of the 1975 mega-hit A Chorus Line are planning a revival fifteen years after the last kick line of the original production. Though the show was, until Cats smashed the record, the longest running musical on Broadway, the belief is that it will be able to bring in a mix of the generation that was too young to catch it and those of us who saw the original production and wish to reminisce. However, we in the valley don’t have to wait until next year to enjoy this musicalization of a cattle call, as Phoenix Theatre has mounted an excellent production that showcases our surprisingly deep talent pool. Directed and choreographed by Roger Castellano, this is a faithful recreation of the original production with an excellent ensemble. People in the theatre and dance community may find this story a bit trite, idealized, and stocked with stereotypes, but I admit that having grown up with and wearing out the original LP, I still cry during “At the Ballet.”
Castellano’s work on this captures the spirit of the
original. From the trademark triangular revolving flats on Richard
Farlow’s set to the sultry dance that accompanies Cassie’s (Melinda
Parrett) “The
Music and the Mirror,” there’s nothing new here, but there doesn’t
need to be, either, so he lets the power of the music and dance take care
of itself. One thing that he is able to do in cooperation with his actors
is to capture the various levels of ability of the characters. In an ensemble
that appears consistent in their talents, they are able to over or under-dance
as their charges, and if you watch closely, you can guess who will stay and
who will go at the end of the show.
I had no idea that we had such a talented group to be able to pull off this dance-intensive work. It’s true that three of the actors (Parrett, Arthur W. Marks as “Gimme the Ball” Richie, and Lucas Coatney as Zach’s assistant Larry) have been recruited, but the remainder of the ensemble is a group of locals who generally shine in their roles. The three imports are wonderful. Parrett really captures the desperation and determination of Cassie. Marks is exuberant throughout, and Coatney is just as strong an actor as he is a dancer. Most of the local talent is up to the level of the visitors. For example, I always knew that April Monte was a strong and talented performer, but she aces the role of Diana Morales. Her presentation of “Nothing” is full of wit, and her soulful performance of “What I Did for Love” stops the show.
The standouts of a strong cast include Clark Webb whose work as Mike is infectiously fun and remarkably limber, Robert Kolby Harper’s comedic turn as the flamboyant Bobby, the cute duo of Matt Sopha and Heather Langham as Al and Kristine, and Heather Duckworth’s perky Bebe. Though not as strong a singer, Elizabeth Reynolds perfectly captures the world-weariness of Sheila, and Katie O’Brien is a scream as plastic surgery-advocate Val.
While the show is not set-intensive, the final image of glitziness that Farlow and lighting designer Paul Black offer is a bit underwhelming. Black’s other lighting choices have an annoying tendency to call attention to themselves through isolations and a bevy of what feel to be extraneous cues. Timothy C. Slope’s costumes, however, do an excellent job of capturing the gypsy nature of the world of dancers. Ron Colvard’s orchestra is strong and consistent.
A Chorus Line is one of those musicals that most everyone loves, but is too difficult to mount and is rarely produced. PT has collected the talent to does this show justice. I recommend that everyone who loves this show do everything they can to catch it. Your next best chance is over a year and 2200 miles away.
