Chorus Line - Park Square Theatre

Photo: Dan Norman

 50 years ago Park Square Theatre started producing shows. Also 50 years ago, A Chorus Line opened on Broadway and has since become the iconic show that it is....beating out Fosse's Chicago, which opened the same year, at the Tony Awards. As a celebration of this 50 year milestone, and as a personal tribute from the Director to the actor Robert LuPone (the original Zach), Park Square Theatre is currently producing A Chorus Line. And yes, it has the original direction and choreography as saved, and passed along by Eddie Gutiérrez from the Michael Bennett Estate. Is this vital and important? In many ways, yes it is. There are certain choreographers and directors and creators in this lifetime who have made significant steps in their field, and that should continue to be honored and represented. You can see that with, I would chance to say, any production of Chicago, or even Cabaret that you see. With in that production you will see glimpses of the iconic Fosse style. Every production of A Chorus Line will use some aspects of the original choreography because it is iconic, and very much tied to the show. 

This specific production is being presented, in some ways, as a historic work set in a very specific time and place. It is set at the time that the original production was set, 50 years ago, as directed by Michael Bennett, with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante. I think as a tribute, this is fantastic. As a theater work, I am not sure it truly matters. The show has a universal message about how each of us has our own story, our own history, which we can chose to share or not depending on the situation. We, in our own lives, are given the chance to share what we want, when we want - unlike the characters in this show who are asked to share their lives during an audition for a chorus part. A Chorus line is a collection of stories and experiences of a group of people who come together, and work together to create a gorgeous chorus, doing an incredible dance number at the end of the show - One. It shows a community getting a chance to know each other, and to help each other grow as a person and as a dancer. At the same time, the penultimate song is "What I Did For Love" which, I realized during discussion with the artistic staff at a rehearsal, is about passion for what we do. It isn't love for another person, it is love for our life, for what brings us joy, the things that we have a passion for.

In this production it is clear that every single person on that stage has a passion for dance, and for performing. The cast of performers are all triple-threats. This means that they can all sing, act, and dance, and are fantastic in each. I could call out my favorites, but with a cast like this it would just end up being the cast list. I loved the variety of shapes and sizes with in the cast and really hope that this sort of casting continues. We all need to see and be reminded that any body type can be a dancer body. Keep up that good work!!

Speaking of the cast, the majority of the cast is local, though for some reason the role of Paul, Vicki (also the dance captain), Judy, Bebe, and possibly the female swing/Diana Understudy all have more credits from out of town than in town, so perhaps they were brought in for the show, or are new to the Twin Cities. Why do I bring this up? Because we are in a Twin Cities that, last I heard, has the most theatres between Chicago and LA. I am quite sure we have the talent base to cast these roles locally. This is in no way disparaging of these performers as they were wonderful. It is more a comment about the casting and artistic choices that were made. I'm not calling any specific performer out as they were equally talented - even the ones playing characters who were cut from the audition. You have to be a good dancer to know how to be a bad one.

The show is fantastic. If you don't know the story, or have only seen the movie, you need to go see this production. If you want to know the story behind how this show was created, there is an amazing documentary about it. (There is also a film adaptation, but most people hate it - though not me) It is a wonderful backstory for certain. The show is based on stories told to Michael Bennett by other dancers that he knew and worked with. He took time to record all these stories, and listen, and eventually these stories were mixed-up and put together into these songs (by Hamlisch and Kleban) and monologues (by Kirkwood and Dante) that you see on stage. I find it interesting that the one person we don't get to hear about is Zach - the director of the show these kids are auditioning for. He comes across as hard and tough, partially because he is the one in charge, but also if feels like that is just who he is. We aren't given time to get to know him, or hear his story like we do of some of the actors he is auditioning. We get a quick glimpse when he and Cassie are having their moment, though even then he seems like he is refusing to really see her point. The moment of compassion that we do get from his is at the end of Paul's monologue, which may be why the audience also has an emotional response to Paul's story. I wonder if Zach may relate a bit more to Paul then he wants to show. Or maybe he is starting to soften a bit from his conversation with Cassie.

There is a lot to think about with this show, if you want to dive into it. You can go and just enjoy two hours of good music, good voices, and amazing dancing and have a great time. You can also go do all of that, and then start asking questions a day later...which is what I ended up doing. Either way, it really is an amazing show that has a lot to say about life, community, and coming together as strangers to support and uplift each other...if you want to see it in that way. It plays at Park Square till June 14. Do not wait to get tickets. Get them now because you may want to see it again! 

Photo: Dan Norman

Now, some nit-picky things that I still think about and wonder about. With the show set in the 70's, there is a lot more belting in the production than I expected. If you listen to cast recording of the time, you don't hear belting as much. It is saved for very specific moments like Bebe's moment in "At The Ballet." That belt is what makes that moment so good - because it really stands out from the rest of the voices we have heard. I also found the amount of clearly good quality leather dance bags to be odd. From where I was it looked like they were good bags that some of these actors would not be able to afford, let along use to carry dirty dance belts, tights, socks, shoes, water, etc in them. The cast looked young, which is mostly appropriate but I have always felt that some characters are older than what I saw. Then again, that may be more of a reflection of my age and how I see others. I was wondering if Paul's monologue and story are still as meaningful as they were back before Drag Race, and the rise of equal rights for the LGBTQIA+ community. Sure, it is a meaningful monologue from a historical perspective but do people today really know how bad 42nd street and Times Square was in the 70's? How shocking it would be to take a young kid there to see a movie? Specifically in regard to the character of Paul, parental acceptance is a big deal for everyone, especially in the terms of Paul's story. But it still comes across a bit dated. One last thing - I come from a performance background. With that being written, after a long tech week (especially with a dance heavy show like this), and knowing that the Saturday night show was cancelled at the last minute, and that even opening night one of the lead actors was in the house while their understudy was on-stage, I was really surprised that the Sunday matinee went on. I realize that in some ways it is about season ticket holders, and having to make money for the theatre to sustain itself. At the same time, specifically for this show, in my humble opinion is it just as important to take care of the cast. It was opening weekend. Any season ticket holders, or even reviewers could be moved to a later date so the cast could heal and rejuvenate before starting another full week of shows. 

Despite all of that, and if you have continued to read this far, I still urge you to go see this production. It is the only Michael Bennett that is consistently put on with his Estate teaching his choreography. This is despite his choreographing the Bacharach show Promises, Promises, as well as the two amazing Sondheim shows Follies, and Company. AND he was also the director and co-choreographer of Dreamgirls, as well as the creator of the little know, and very rarely done Ballroom. I also know that he was involved in the original production of Chess in London. So I am curious why these other shows that he was involved in aren't being revived in the same way that A Chorus Line is.