A Chorus Line Teen Edition

I must confess, surprisingly, apart from the film years ago, I don’t think I’ve ever seen this show before and certainly not at Amateur level, so I think I can’t safely say it is rarely performed. There are only half a dozen reviews on the whole of the NODA website. Not too surprising as it requires a large cast of young performers, so really only ideal for a college, school or youth group. This Bedford College production of the teen version consisted of pupils age sixteen to eighteen and was directed by Danni Stone.

The story highlights and celebrates how the behind the scenes casting of a new Chorus Line for a new unspecified Broadway musical, where the Director, Zach starts with a diverse collection of hopefuls and has to whittle them down to just eight. He gets each in turn to first tell their ages and then their personal stories that led them to be passionate about dancing and why they want this job.

The set, under the control of Technical Overlord, Simon Barker was the bare studio theatre without any scenery, with blacks to either side and the rear, exactly as you would expect for an audition process. To the rear was a set of full-length mirrors on wheels, which were used extensively throughout the show and moved into position by the cast. The raised audience seating was slightly angled to either side leaving a space in the middle with a table and two chairs facing the audience, which was where Zach sat as he went through the audition process.

As we took our seats we were immediately drawn into the setting as some of the cast were already on stage and others continued to arrive up until the last moment, complete with personal bags and items for the audition and each finding spaces around  the stage to make their own and then carrying out various individual warmup exercises and chatting amongst themselves in small groups whilst we waited for the action to start. Very neat idea indeed.

The preprogrammed lighting plot was designed and operated by Alex Cooper Marsh with the help of Spot Operators Charlotte Firkins and Alex Home and in the main worked very well, with just a couple late cues, quickly caught and corrected. Sound by Lily Drake Hammond and operated by Carrie Moulton, was also almost faultless with one momentary face mic failure, again very quickly corrected.

Under the musical direction of Isla Wells, in her Post Graduate Certificate of Education year, who also played Lori, and in the absence of live musicians the Marvin Hamlisch score was certainly safe in her hands, being very well sequenced and was almost flawlessly operated. Good job all round.

With a twelve-week schedule and with rehearsals three times a week Choreographer Claudio Colardo had certainly put the cast through their paces to come up with some very well drilled, memorable numbers especially for the opening and closing numbers, ‘I Hope I Get It’ and ‘One.’

Costumes were as you would expect for an audition process a mixed bag, some practical in leotards, some in casual civilian clothes and one or two quite flamboyant with the director Zach dressed entirely in black. For the final number, once the auditions had been completed the entire cast were in stunning jacketed gold and black outfits with matching top hats.

The Director, Zach was played by Theo Maxim Godden, with an extremely well-pitched imposing performance, particularly with the use of ‘put down’ facial expressions as he stamped his will on each auditioner, should they dare to question him or fail to carry out his instructions. A young man of some talent, as recognised for with his Rising Star award at last year’s District 2 NODA Awards, and who has now secured a place at the prestigious London Academy of Music & Dramatic Art (LAMDA). We wish him all the best for his future in performing arts.

The hopefuls then all told their stories with passion and conviction from Mike (Preston Sawyer) taking his sister to dance classes and realising his own talent with ‘I Can Do That,’  to Maggie (Tallulah Smith) using Ballet to escape an unhappy childhood with ‘At The Ballet’   Each in turn related parts of their past in a desperate attempt to be one of the chosen with Zach making them dig deep into a past many would prefer to forget.

Amy Roblin (Another NODA Rising Star) was Cassie, who had had a past relationship with Zach which led to a very tense conversation with the two of them alone on the stage as Zach was somewhat thrown by her turning up for an audition, insisting she was better than that. Excellent tense interplay between them.

Chloe Dryer as Val explained the importance of good looks and plastic surgery with ‘Dance, Ten, Looks: Three,’ Sad and funny at the same time. Valentina Costanza as Connie wished she was taller, lamenting the problems of being short whilst Lottie Hillyard-Slough as Diana describes how she hated High School Acting Classes. Hope Maddocks as Judy Talks about her parents, Tilly Frost as Kristine regrets not being able to sing, Orla O’Halloran, as Shelia, whom Zach initially accused of not taking the audition seriously also talking about her unloved childhood and a love of ballet, the same story applying to Ellie Goodwin as Bebe. Emmi Clapau as Richie tells how she nearly became a teacher, whilst Jessica Newell as Bobby, hides unhappiness behind telling jokes. Steph West as Mark has the unfortunate accident with a fall at the end which sadly ends his chances at this audition.

Well done also to the cut dancers who gradually left the show as the eliminations went on!

So, a complicated show, which had obviously had a lot of hard work and energy put into it and was quite a roller coaster to watch and well done to Director Danni Stone, her cast and crew. It was fun to watch and much more than just a singular sensation!

Many of the cast members were performing their last show for Bedford College and moving on to various universities and acting courses and I wish them every success in their future endeavours. Bedford College has set you up well for the outside world of performing arts. To the first-year students who remain we very much look forward to your next production later in the new school year.

Finally, many thanks to the FOH crew for your first-class hospitality.

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