Chorus Line @ NY City Center

[SonofRobbieJ]

'I just used a generic example and basically mean OTHER/new costumes can work too.'

That's the problem.  What you suggested was generic when the costume actually needs to tell us why she's special.  I'm not going to say 'Nothing could ever be as good as Cassie in a red leotard and dance skirt.' but...no one else is offering anything up.  Let's face it...it's iconic and does a masterful job of telling the story long before the character of Cassie even opens her mouth. 

I don't think dated references are the problem here.  For example, the diaphragm line happens so quickly within the cacophony of Hello, Twelve that to spend any time on figuring out how to change it is fruitless.  The thing that can make it feel dated is the intangible of the other character in the show: Broadway.  In 1974 Broadway (in fact, New York) was astoundingly different.  The city was broke, Times Square was a drug and crime infested area and just three years earlier, the creator of Michael Bennett basically staged the funeral for the Old Broadway with FOLLIES.  People didn't know if NY or Broadway were going to recover.  That plays a very big role in minds of these dancers.  They still showed up to take on these anonymous roles because that's what they had to do.

Today, scads of chorus boys and girls have fan bases and reach through social media.  That simply didn't exist in 1974/5.  So...any director putting this show together (and a director is what this show needs more than a true choreographer as any ACL vet could set these numbers on a new cast) has to be able to make her cast understand the world in which it takes place, the stakes involved, the relationships that exist with the characters and the fact that this may be their last shot.  Good lord, for much of the original cast, it was.  At least in terms of being the focus and having any kind of lasting acting career. 

[ACL2006]

Great! Thanks. Also still waiting on a discount code. I think it's crazy they're asking $140-$170 for all of the orchestra.

[SomethingPeculiar]

I go back and forth on this, but I think the 1970s is part of ACL's identity. Even with rewrites or new orchestrations, it's a snapshot of a specific era in Broadway/NYC history. Just a few years later, Broadway would be revolutionized by the British musicals (on the heels of ACL), Times Square would be cleaned up, a dark shadow would be cast over the industry by AIDS, and new BFA programs and more accessible media would change what it means to be a Broadway performer. 

If it was set in 2018, social media/So You Think You Can Dance/Trump/representation/MeToo/U-Mich/non-Equ tours would be part of the script. If it was set in the 80s, AIDS/Reagan would be part of the script. I believe Michael Friedman had been working on a "follow-up" show for the Public about AIDS' affect on the lives of the characters, which would have been fascinating.

[poisonivy2]

I've always thought ACL could work if they kept the songs and musical numbers but had a different group of actors tell their own Broadway gypsy stories. Because let's face it, they all have had those stories and the songs I think could be adapted to fit more than one life story. I think what worked so well for the original production was that Michael Bennett based the script so closely on actual struggling Broadway actors. It had the feel of authenticity. I think without that authenticity ACL does seem dated.

[LightsOut90]

this all sounds collossally boring and im not sure why it is happening to be honest

[SmoothLover]

LightsOut90 said: "this all sounds collossally boring and im not sure why it is happening to be honest"

 

It is the 75th Anniversary of City Center so the programming was structured around the world of dance.

 

[nasty_khakis]

You seem to be hung up on Cassie's costume, so forgive me, Im not an award-winning designer. Surely one of many brilliant costumers working today could do something great, something new. 

Any reason that's so special about Mike wearing a light blue polo and not, say green? Would the world crumble if Connie was in pants and a tshirt?

The point is MANY original productions had iconic costumes and revivals have changed them and also been successful. Should every production of My Fair Lady have to use Cecil Beaton dresses?

[SonofRobbieJ]

No...you're the one hung up on costumes...as if that's the actual problem with the piece feeling dated or too tied to the original production.  The problem, as I described above, has nothing to do with the costumes or the references in the songs or even the orchestrations and choreography.  The problem comes when the strong hand of an actors' director is not apparent in the process.  Michael Bennett was a son-of-a-b*tch who did what he had to do to pull the performances he wanted out of his dances whom he treated like actors.  They were all also actually a part of a NY and Broadway that was crumbling.  The future, already something hazy for the life of a dancer, was even more uncertain in 1974/5. 

I absolutely guarantee you that a production recreating all the externals (the costumes, choreography, set, orchestrations and references) but directed by a person who treats the dancers as actors and helps them craft go-for-broke performances that informs every moment would not feel the least bit dated.  It wouldn't feel 'museum.' 

As for Cecil Beaton...you're right...people shouldn't have to recreate his costumes.  But we can also recognize that no one will probably better his costumes.  Perfection in the theater is very, very rare.  And those costumes are perfection.  That can and should be celebrated.

[nasty_khakis]

I think a strong piece of theater should be able to withstand new productions, new ideas, new dance steps, new dresses.

I'd love to see the original production of Follies, Sweeney Todd, My Fair Lady, etc, but I'm also glad I get to see a Sweeney done by John Doyle, a big version in an opera house, one done in an actual pie shop in London. The piece still works.

I've seen really great productions of A Chorus Line, the UK revival recently was miles better than the Broadway revival, for example. I'm not saying the original is bad, but there's nothing wrong with doing a new production with new choreography. I'm not saying set it now and change all the lyrics and script and have them say "Tweets! how many people look at my tweets!" but a new examination would be worth a shot.

[SonofRobbieJ]

To be clear, I'm happy with anyone trying whatever with the pieces.  In 75 years this will be in the public domain and anyone will be able to really f*ck it all up!

Just don't get me started on on the changes to the revival of CAROUSEL. 

[Dollypop]

After seeing the lifeless production of A CHORUS LINE at the Gateway Play house this summer, I was looking forward to this. I've been scheduled for a procedure on the 14th and will be out of commission for the time of it's run. Drat!

[ACL2006]

Seems like any production Mitzi Hamilton recreates comes off lifeless. Papermill, Gateway, Surflight. Never worked with her, but her productions never get received well.

[Dollypop]

The Gateway production was miscast (Cassie looked perfectly comfortable with the other dancers and blended in) and the choreography was performed with little emotion.