A Chorus Line

In 1978 I had the pleasure of seeing Chorus Line in the West End, it was one of the most memorable musical experiences for me. Forty years later BMTC, a gifted company, breathed new life and vitality into this production and reclaimed the magic that had inspired me so much all those years ago; it was both thrilling and technically impressive. It opened with a spectacular burst of energy that was sustained to the truly grand finale. The audience was totally captivated by intensely personal stories, some funny, some stirring. This is a show that can be difficult to get right, calling for an ensemble of extraordinary dancers, actors and singers. Kelly and Rich Tye succeeded and led a phenomenal cast and brought out each dancer’s individuality and talent to our attention, and defined the portraits of highly motivated young hopefuls.

This was a creative, skilful team with excellent staging experience. Alex Woolliscroft’s choreography was crisp, dynamic, and slick. There were a lot of dancers yet, there was no overcrowding on stage, and line arrangements ensured all were visible to the audience with no weak links observed; these dance numbers were well rehearsed, and a beat of movement was never missed. High kicks, head movements and extended arms were totally in unison during ensemble numbers. Step sequences were punchy, inventive, and exacting. Arrangements were fastmoving, dazzling and well devised; performances energised, no exceptions. Alex did an amazing job! Musical director, Alex Priestly, and his musicians, created wonderous music and a great sound in bringing to life Marvin Hamlisch’s score. The upbeat music and snappy tunes moved at a bright but brutal pace. There were three musicians including Alex, on keyboard but the quality sound produced equated to the polished sound of a full orchestra, superb!

 

This is a musical about auditions at a Broadway theatre. Cassie, (played by Sian Cameron) who hasn’t had a gig in a year. Calling herself a dancer requires more resolve than it did. Playing Cassie’s old flame is Zach, the director, who is overseeing try outs for a new show. The stage is flooded with talented dancers rehearsing jazz and ballet combinations, supporting each other. As the group is whittled down Zack calls on the remaining hopefuls to divulge personal truths while Cassie waits to privately confront him with hers. Zach thinks that being in the chorus is beneath her; she’s a star and he helped her become one. She convinces him that being a star is not what she needs she just needs to dance. During the performance in this role, Sian commanded stage presence in the number, ’The Music and the Mirror, ’as she went through turns and dips and pirouettes which earned audience appreciation of her performance and the character Zach’s attention to her appeal for work. Greg Yates played the director, Zach. He was stationed in the middle of the audience, an imperious off -stage presence but a theatrical device to allow the stories of these amazing strong, fragile, intriguing, hilarious chorus line members to be told with insight and clarity. It also gave his character the opportunity to observe his ‘line’ of dancers and engage his characters in the action. Greg ‘s portrayal was convincing and whilst a little bullish was also convincingly empathetic, his voice tone, authoritative and rich.

Notable numbers in this show include, ‘I Can Do That,’ an early showstopper, performed athletically and playfully by Brett Dewsbury in the role of Mike as he recalled a moment at his sister’s dance class. Other tales of career were founded on childhood love for The Red Shoes or trips to the ballet and these tales were conveyed through the number, ‘At the Ballet,’ with pitch perfect singing by Sheila (Joanne -Marie Wilkins-Brotherton), Bebe (Hannah Roche) and Maggie (Sarah Washington). Their voices in perfect harmony, their expressions and gestures compelling, the number visually was entirely beautiful. ‘Dance 10 Looks 3,’was performed by the very entertaining Hattie Perry who delivered this musical number with zest and vitality, fabulous! The production went through waves of emotion and elation and builds to, ‘What I did for Love,’ which was sung so powerfully by the very gifted performer, Philippa Mills who played Diana. She certainly gave this heartfelt number the wow factor!

Commendable performances need to be accredited to the rest of this outstanding cast who were exuberant and joyful to watch, including Jess Neil; Adam Merrall; Bae Rooney; Jonathan Blake; Alex Price; Nick Room; Patison Harrigan; Brett Dewsbury; Sarah Taylor; and Stacey Priestley. Charlotte Trigg played Laurie perfectly as the brusque assistant who put the dancers through their paces. Worthy of a special mention too, must go to Chris Parry who played Al, whose singing voice has a fine quality and was a delight to listen to.

The show stopping ’One, ‘brought the performance to a close with a moment of a real spectacle with the entire cast all decked out in gold costumes. This was a contrast to the audition costumes by the dancers which nicely conveyed their personalities. Lighting design was most effective and projected onto the black expanse or a mirrored space to match the beat of the music and mood of the number.

Kelly and Rich Tye led a resplendent cast with some first-rate knockout performances. This performance of A Chorus line proved it’s,” Still the One.”

Congratulations to all the cast and crew who clearly had worked hard.

Thank you for inviting me.

 

 

 

 

 

 

 

 

 

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