A Chorus Line at Flat Rock Playhouse
Few shows reflect a sense of true ensemble work better than A Chorus Line.
Built into the Tony-winning tale of nearly 20 dancers auditioning for eight background spots in an unnamed production is a fascinating sense of camaraderie and competition, and the book by James Kirkwood and Nicholas Dante, and choreography by original director Michael Bennett allow both aspects to shine.
The material is a particularly terrific fit for Flat Rock Playhouse, whose Leiman Mainstage feels almost custom made for a cast and production of this size. Under the direction of Lisa K. Bryant and choreographer/associate director J. Taylor Wright (who also plays the dancer Greg), the 48-year-old show feels as fresh as ever, and the gifted cast powerfully conveys the hardships inherent with pursuing such a physically demanding, youth-favoring art form.
Getting to those revelations, however, takes somewhat of a head-scratching route. After some fun “behind the scenes” activity on stage as the dancers warm up and interact while we attendees file in, casting assistant Laura (Jahlaynia Winters) makes a pronouncement hinting that things are about to begin. But what follows is another five-plus minutes of sitting in the fully lit auditorium while the jazz band under the direction of Ethan Andersen warms up, an awkward stretch that makes one wonder if something’s amiss backstage or if a VIP theatergoer has yet to arrive.
Once things at last get going, they rarely stop — and when they do, it’s (mostly) for good reason. From opening number “I Hope I Get It,” it’s clear we’re in the presence of talented dancers and vocalists, and as the try-outs progress, the performers show that they’re similarly adept at drama and comedy.
Bringing out this stunning range is an impressive balance of group and individual work. Through the show’s inventive writing and staging, and further aided by distinct costuming from Matthew Kilgore, the audience gets to know what makes each character tick and why they are the way they are. Memorable songs by lyricist Edward Kleban and EGOT-winning composer Marvin Hamlisch delve into the dancers’ backgrounds and the various obstacles they’ve overcome to get to this point, as well as what’s nagging them about their present and future.
Such information is most thrillingly presented via compelling action where a character will step forward to speak with casting director Zach (Jason Watson), who’s seated at the rear of the theater, then go silent with their lips still moving as other characters — bathed in Ben Hamann’s thoughtful lighting — express hidden internal thoughts and, via seamless jumps in time, their own answers to Zach’s questions. We first get to see this multifaceted approach when self-professed weirdo Bobby (Josh Levinson) goes on an entertaining rant that’s interrupted and resumed as if someone is playing around with a remote’s Mute button — but it’s thankfully not the only instance, and not even A Chorus Line’s most technically impressive sequence.
That prize goes to married couple Kristine (Mady Bec Rogers) and Al (Aaron Craven), who flex their verbal dexterity on the challenging duet “Sing,” which humorously lays bare her inability to hit proper pitches. And right up with it is the mesmerizing solo by Alexandria Van Paris’ Cassie, showcasing her dancing skills in “The Music and the Mirror” in a desperate grasp for a second chance in the field she loves.
Cassie’s history with Zach won’t be spoiled here, but their heartfelt interactions result in an inspired blurring of space within the venue as the center aisle and the area in front of the stage are used as if theatergoers weren’t present. This proximity to the action adds a layer of excitement to the proceedings and complements Dennis C. Maulden’s minimalist production design, which otherwise consists of a handful of tall mirrors that obscure the band.
A series of complex group numbers end Act One on a high note, yet more of a mixed bag awaits in the second half. Despite the high of Val (Alexandra Nicole Garcia) comically extolling the virtues of physical augmentation in “Dance: Ten; Looks: Three,” the extended monologue by Paul (Steven Rada) about his rough experiences as a young gay man adds some nice emotional depth to the show, but, unaccompanied by music or dance, it nearly grinds the production to a halt.
Before long, “One” resuscitates A Chorus Line and the touching “What I Did For Love” brings the plot into the home stretch as the four female and four male dancers are selected. But with everything wrapped up, another burst of discomfort emerges to match the one that opened the show.
Clad in matching shiny outfits, each performer emerges from stage right to the tune of “One: Reprise” for well-earned applause, yet does so in such a labored fashion that no one winds up receiving the full raucous attention they deserve. Slow-drip, individual curtain calls for a cast this size is too much to ask from an audience, but, fortunately, the ensemble gets its chance to show off as a unit once everyone is on stage, somehow retaining enough stamina for some of the show’s most ambitious dance moves.
A Chorus Line runs through Sunday, Aug. 6. For details and tickets, visit FlatRockPlayhouse.org.
(Photos by Treadshots)
