On Saturday, June 13th, I had the pleasure of seeing, one final performance at the Downtown Cabaret Theatre, in Bridgeport, CT, A CHORUS LINE. While the extreme talent of these first-rate cast members was entertaining, I was also deeply saddened knowing that unless something changes, this would be my final time at this theatre that my wife and I have so tremendously enjoyed for more than nine years, regularly attending shows. It seems, however, that unreasonable rent ($10,000 per month) imposed on the theatre in these dismal economic times is unsustainable, making A CHORUS LINE, scheduled to run through June 28, 2026, the final show for Downtown Cabaret Theatre, before it officially closes.
There is a petition online to keep the theatre up and running. I urge everyone to sign it. You can link to it from Petition Link.
Before I get into A CHORUS LINE, I want to write about the Downtown Cabaret Theatre. The first show I saw there was Spring Awakening on March 20, 2017. Right away, I knew that this theatre had something truly special. Everyone from the parking lot attendants across the street to the ticket takers have always been incredibly welcoming. I have also had the pleasure of meeting many of the stars of the shows, after the performances. Hugh Hallinan has maintained a wonderful culture throughout the decades of this theatre. For those who have never been there, the theatre has two stories, tables in the middle of the downstairs, tables in the back, and all around the sides. Upstairs, there are plenty of tables as well. Throughout the years, even if I may not have been at every specific table, I have been in every general area of the house of the theatre, and it is always an excellent view. I have enjoyed numerous Main Stage shows, the Theatre for Young Audiences, and the Decades in Concert performances, all of which occur on the same stage.
The Main Stage shows were the full shows, like A CHORUS LINE, usually musicals, but not always. 1984, for example, was a powerful show, without music, that was magnificently performed, one of my absolute favorites. I always knew Downtown Cabaret Theatre shows would have a first-rate cast, excellent directors, and would give the audience a dedicated stand-out performance. Unfortunately, due to the high costs of licensing, and the loss of revenue that all theatres faced during COVID, fewer Main Stage shows would occur per year after COVID.
The Theatre for Young Audiences shows would take place earlier in the day. The shows would always be entertaining for the whole family. They would usually be nuanced comedic adaptations of classic fairytales, making numerous modern-day references, and featuring modern music. The performers would be adults, but the audience would largely be comprised of young children who were often encouraged to yell responses to the characters, the fourth wall usually being broken. The stories, brilliantly written by Phill Hill and recently by Robert Peterpaul were quite often stories in which the main villain would find redemption at the end, the main protagonists modeling the powerful virtue of genuine forgiveness, an excellent lesson and example for the children. Every parent I have spoken to whose children have attended these performances raves about how wonderful these shows have been for their children. With modern television, internet, movies, cartoons, music, libraries, and even some public schools taking a diabolically predatory approach towards the hearts, minds, and souls of modern youth, it was nice and refreshing that the Downtown Cabaret Theatre for Young Audiences provided safe, clean, and positive entertainment for children. The future absence of the Theatre for Young Audiences is a tremendous loss to the children and families of Bridgeport. There is some good news, however, announced by Executive Producer Hugh Hallinan before the show. The Theatre for Young Audiences is scheduled to have a new home in Fairfield. The legacy is expected to continue, just in a new location, the specific details of which have not yet been publicly disclosed, beyond the town and that it is close to the train station. So, girls named Sheila will have a new location to celebrate their birthdays!
The Decades in Concert series was always a phenomenal performance. There would be a projection screen in the back, showing segments of real events from the given decade, as well as entertainment snippets from the decade, while four of the absolute most talented performers I have ever seen Robert Peterpaul, Everton Ricketts, Mikayla Petrilla, and Saige Noelle would perform songs from that decade, some solos, some duets, some trios, and some quartets. The performers would come out in different outfits from the decade, depending on the song. There were moments of comedy and some somber moments, all handled with maximum entertainment value. It is unfortunate that after the stellar performances for the 1960s, 1970s, and 1980s in concert, the 1950s and 1990s won’t get to happen.
Hugh Hallinan and his staff did everything within reason to keep this theatre afloat, including pleas to Bridgeport's mayor Joe Ganim to have Bridgeport purchase the theatre, but so far, those requests have been met with silence. I wish all the best in the future for all the staff of Downtown Cabaret Theatre. I hope the performers continue seeking acting gigs in other local theatres, because the high level of talent they bring is a blessing to the audiences who get to see them perform.
This was the first time I have ever seen A CHORUS LINE. There is no denying the extreme talent of the cast. Director Brad Blake, choreographer Diana Deaver, music director Mark Ceppetelli, and assistant director Steve Belli combine their talents to help bring out the best in this first-rate ensemble cast! The hard work and dedication of all people involved is evident, with the entire cast bringing their A game to this show! They all have excellent stage chemistry with each other, a strong stage presence, and clearly enjoy performing. The synchronicity in dancing is breathtaking, enhanced by the impact of real mirrors as the back stage wall, creating the illusion of twice the dancers being on stage.
The story is about a real-time group audition for dancing roles, with only four male and four female positions available in an audition pool that starts with over twenty people auditioning, the majority of the show narrowed down to the final seventeen. Like with all his acting performances, Everton Ricketts excels in this role of Zach, the casting director for the audition. Zach is a very stern, yet sensitive character, demanding the best of his performers, but showing kindness to those who he has to cut.
Written and set in the middle of the 1970s, the show presents the grueling process that an audition can entail, especially for those whose hard work and effort get them nothing, in the end, because they don't make the final cut. It is not like a nationally syndicated talent contest like American Idol where even those who don’t win may nevertheless get enough exposure for a music deal, as many have. In a case like this audition, the only audience is the person who makes the choice, those who work for him, and the competition.
One of the positive things about this show is that all seventeen of the final auditioners get to individually showcase their talents. All seventeen of those performers truly get to shine in their rolls, and they all do! Standing in a line from stage right to stage left, they include Don (Matthew Farina), Maggie (Lainey Grumet), Mike (Ryan Sokira), Connie (Eizel Magno), Greg (Eric Lewin), Cassie (Emily Pollack), Sheila (Rachel Rosado), Bobby (Nathan Ayotte), Bebe (Zoe Anderson), Judy (Maddy Flagg), Richie (Cory Murphy), Al (David Anctil), Kristine (Faith Fernandes), Val (Olivia Rivera), Mark (Hunter Smith), Paul (Nick Nuñez), and Diana (Jazzy Cores). I would like to go into detail about how phenomenal each of these seventeen performers is, but I don’t like being redundant and I don’t have seventeen different words for “awesome!”
Other cast members who also let their talents shine include Kelsei Senteio in the role of Lori, the assistant to Zach, and other original auditioners including Brice Armstrong as Vicki, Caroline DiGiulio as Lois, Teresa Jack as Tricia, Jess Ricketts as Butch, Max Rodman as Frank, and Ian Sacci as Roy.
Once narrowed down to the seventeen, part of the audition process of this show within the show requires each auditioner, individually to introduce himself or herself, and then each to step forward and either say something, sing something, or perform a dance number of some kind, often being questioned about personal trauma. It is at this point that the show takes a very dark turn. Personally, I don't feel that a character singing about having been raped when she was seven is something that should be flippantly dismissed amid a montage of intended-to-be comedic stories from the other characters. Rather, something that extreme should be approached with the utmost sensitivity.
With music by Marvin Hamlisch, lyrics by Edward Kleban, and book by James Kirkwood Jr. and Nicholas Dante, it soon became evident, upon watching the show, that I do not share a worldview with its creators. That being said, since Bridgeport Mayor Joe Ganim is a Democrat, there is a good chance that he shares their worldview. So, perhaps seeing this show would be the key to getting Mayor Joe Ganim to hear the pleas to save this theatre!
An additional plot point includes a later revealed backstory that Zach and Cassie had previously been romantically involved with each other. Zach thought that Cassie was beyond this particular audition, while Cassie felt like her past roles had ultimately amounted to nothing and she needed this role. Their discussion gets quite impassioned. The fact that the show is written and set in the 1970s and mentions how this unmarried former couple had once lived together would have been considered scandalous by many people, at the time. The impending heartache that Zach and Cassie both received can be viewed as a cautionary tale.
The most recognizable song from A CHORUS LINE is “One,” a full ensemble number that is reprised at the curtain call. It is not that song about the loneliest number that you’ll ever do. It is not that song about how we’re not the same and get to carry each other. It is also not that song about the absolute horror experienced in the inner monologue of a seriously wounded veteran who is being kept alive by machines after a landmine has taken his sight, speech, hearing, arms, and legs. Rather, unlike those songs called "One," this song is in one sense about idolizing an individual and in another sense about this ensemble cast stripping away their individual identities to function as a single unit, despite having been forced to share personal trauma.
Which eight characters get chosen? Do you agree with Zach's choices? Come to the show to find out!
While the high level of talent among these cast members makes watching this show a positive experience, the creators' irresponsible approach to sensitive and disturbing subject matter makes A CHORUS LINE a show for an adult audience only. I especially recommend it to Bridgeport's mayor, Joe Ganim. It is scheduled to continue to run through June 28, 2026. For times and tickets, please go to Tickets. If you have never been to Downtown Cabaret Theatre, don’t miss out on this experience.
Even though Downtown Cabaret Theatre is scheduled to come to a close, Downtown Cabaret Theatre was undoubtedly a successful venture. The level of entertainment that Downtown Cabaret Theatre has brought to countless people is immeasurable. All people involved with Downtown Cabaret Theatre, now or in the past can look back on something that truly made Bridgeport a better place. Downtown Cabaret Theatre, thank you for the memories.
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