Whats the most depressing part of A Chorus Line

[Bwayfan292]

Posted: 11/22/18 at 3:41am

Like I stated earlier, I have been on a binge of A chorus line recently, and I have fallen in love with the show. What do you think is the most depressing part of the show?

For me, I found the whole thing to be sad, but one that really stood out to me that I wanted to talk about, is when Zach pulls Cassie out of the rehearsal and screams is this what you want, as the line starts singing “One”. I found it so tragically beautiful, what do you guys think?

[BalconyClub]

Posted: 11/22/18 at 6:02am

It's depressing that I no longer get a certain reaction when just looking at a bus.

[BrodyFosse123]

Posted: 11/22/18 at 10:18am

The legendary "One" finale.    

It always breaks my heart when the lights dim on the stage as Zach starts giving his statements after the audition ends and the cast dancers are showing their excitement which leads into the opening strains of "One".  As each actor/dancer starts popping onto the stage all dressed in identical costumes, quickly the audience begins to stop recognizing who the actor/dancer is as they all now all look the same.  They applaud as they know its protocol but as each dancer starts filling the stage, they can't recognize any of the actors they saw earlier in their own clothes as now they all look the same.  That was Michael Bennett's directorial choice.

A CHORUS LINE became what it became in the mid-70s because it showcased chorus dancers for the very first time.  Chorus dancers who we always saw in the background now became people.  We learned their stories.  Why they danced.  What their struggles were.  They became human.  

Michael Bennett chose to end A CHORUS LINE by bringing full circle this point of the no-name chorus dancer with his finale.  Having all these dancers unrecognizable at the end of the show.   After spending 2 hours with them, they are back in their unrecognizable chorus spots.  The number "One" is a production number in the show they were auditioning for.  If you look at the choreography, they are dancing around an invisible lead actress, hence the lyrics to the number.  If you imagine a female center stage, you will see how they are dancing behind and around her.  

Many still comment how A CHORUS LINE doesn't have a traditional curtain call unaware that "One" IS the show's curtain call.  Each actors is taking their bow during the "One" vamp.  Bennett had "One" end with the lights fading during the famous kickline and the house lights quickly turning on right at the blackout.  This left the audience sitting in their seats baffled as they expected a regular curtain call when the show ended.  Sorry, folks.  When you all were applauding the dancers bowing at the start of "One" then just kept on applauding just to applause as you no longer recognized who each one was, that was their curtain call.  That was Bennett's way of making his point: these people who you learned about and cared about were once again reduced to "One" same faceless person.  A chorus dancer in a crowd.    

 

[sabrelady]

Posted: 11/22/18 at 10:37am

Sheila's "long" look as she leaves. I always identified w her and her sense of hurt and betrayal is almost physical. 

[Elegance101]

Posted: 11/22/18 at 10:45am

The entire thing.

[BeNice]

Posted: 11/22/18 at 11:00am

Glad you have discovered the brilliant Chorus Line. While it is definitely depressing, it is one of the greatest musicals ever written.

I’d say the most depressing part for me is when Paul blows out his knee. It just demonstrates how those dancers sacrifice everything for their craft and in an instant it can get taken away from them.

[BroadwayConcierge]

Posted: 11/22/18 at 11:26am

Not necessarily depressing, but the moment that punched me in the gut at City Center last week is when they line up for the final time, after “What I Did For Love.” It was very jarring to have a space in the line (following Paul’s injury), and it’s a stage picture that has stayed with me.

[BrodyFosse123]

Posted: 11/22/18 at 11:38am

[Blue_Lotus]

Posted: 11/22/18 at 12:02pm

Nothing actually depresses me about A Chorus Line but several aspects of the show do move me:

At the Ballet

Paul’s monologue and knee injury

Seeing the spot he once occupied empty

Cassie’s passionate plea to Zach on why he should take a chance on her

Sheila stopping and staring out at Zach once she is rejected

[Blue_Lotus]

Posted: 11/22/18 at 12:06pm

BrodyFosse123 said: "The legendary "One" finale.

It always breaks my heart when the lights dim on the stage as Zach starts giving his statements after the audition ends and the cast dancers are showing their excitement which leads into the opening strains of "One". As each actor/dancer starts popping onto the stage all dressed in identical costumes, quickly the audience begins to stop recognizingwho the actor/dancer is as they all now all look the same. They applaud as they know its protocol but as each dancer starts filling the stage, they can't recognize any of the actors they saw earlierin their own clothes as now they all lookthe same. That was Michael Bennett's directorial choice.

A CHORUS LINE became what it became in the mid-70s because it showcased chorus dancers for the very first time. Chorus dancers who we always saw in the background now became people. We learned their stories. Why they danced. What their struggles were. They became human.

Michael Bennett chose to end A CHORUS LINE by bringing full circle this point of the no-name chorus dancer with his finale. Having all these dancers unrecognizable at the end of the show. After spending 2 hours with them, they are back in their unrecognizablechorus spots. The number "One" is a production number in the show they were auditioning for. If you look at the choreography, they are dancing around an invisible lead actress, hence the lyrics to the number. If you imagine a female center stage, you will see how they are dancing behind and around her.

Many still comment how A CHORUS LINE doesn't have a traditional curtain call unaware that "One" IS the show's curtain call. Each actors is taking their bow during the "One" vamp. Bennett had "One" end with the lights fading duringthe famous kickline and the house lights quickly turning on right atthe blackout. This left the audience sitting in their seatsbaffled as they expected a regular curtain call when the show ended. Sorry, folks. When you all were applauding the dancers bowing at the start of "One" then just kept on applauding just to applause as you no longer recognized who each one was, that was their curtain call. That was Bennett's way of making his point: these people who youlearned about and cared about were once again reduced to "One" same faceless person. A chorus dancer in a crowd.

You make valid points about the "One" finale but I look at it from a very different perspective. Yes, they now look the same and you can't tell them apart, BUT they are doing what they love to do - - - they're dancing in a Broadway show - - - their hard work paid off. It gives me nothing but pure joy every time I see that number performed.

[bryan2]

Posted: 11/22/18 at 2:36pm

I find it to be mostly 90 minutes of good songs and boring monologues. I loved the album but wanted to scream in the theater. I saw it years ago in Boston with Bebe Newirth

[ACL2006]

Posted: 11/22/18 at 5:29pm

What I Did For Love always gets me. More so as I've gotten older and don't perform as much. I always think, "was that the last time I'll perform"?. You never know. The last time I performed ACL, I was a hot mess during the last performance. I obviously didn't know it would be my last time doing the show because I always thought, "oh, I got one more in me". But once you get to a certain age as a dancer you know your time is coming up. And now watching that number makes me a mess, especially if it's a good production (City Center & the non-equity tour most recently). There's other parts(Bebe's part in At The Ballet, "Mother" & "One").

[Miles2Go2]

Posted: 11/23/18 at 3:16am

A Chorus Line was the first professional (touring) production I ever saw. I was probably in my late 20’s or early 30’s. As such, I was enthralled by it, but had no knowledge of how to interpret what was occurring on stage beyond the obvious. The threads devoted to the recent revival have been quite instructive and make we want to see it again. Thanks all!

[Alex Kulak2]

Posted: 11/23/18 at 6:44am

The fact that I'll probably never be a part of a production, on account of my double-left-footedness.

 

For real, I'll second the "One" Finale. Because yes, it does show the performers getting to do what they love, but at what cost? The loss of their individual identities and suppression of their unique personalities.

[AADA81]

Posted: 11/23/18 at 1:46pm

Paul's injury to his knee and Sheila's visceral reaction to not getting the show are real gut-punchers for me, but there's a bitter-sweetness that permeates much of the show.  A very emotional experience.

[ScottyDoesn'tKnow2]

Posted: 11/23/18 at 1:51pm

A good follow-up to watching A Chorus Line would be reading Donna McKechnie's autobiography. After I finished that, I felt like I finally fully understood the life of a working dancer. She must HAVE to be a dancer because her career was so full of ups and downs and not being settled or financially secure that it gave me anxiety.

[CallMeAl2]

Posted: 11/23/18 at 7:54pm

That nothing will ever come close to capturing the drama and tension of the original cast.

The gentle sadism of Zach and the desperation of the dancers torn between pleasing him and protecting themselves and each other dissapated after the cast split up. The ones that went to LA and SFO kept some of that quality on the road, but it was gone in New York.

The show quickly devolved into a line of performers each biding their time until their big number or scene.

That's what makes me sad. With new revivals my hopes are raised that someone can find those steely nerves trying to glide above the terror, but I am always disappointed. The music and staging and performances are thrilling, but there is no indictment of a system that would require people to beg and debase themselves just for the chance to work.

[romain2]

Posted: 11/23/18 at 8:08pm

Zach’s way of telling the 7 who have been cut they have been cut. It’s cruel after what he’s put them through. It’s hard for me to be happy for the 8 who make the cut. What other games will he play?

I just saw a college production of it and the curtain call intrigued me. They come out one by one in their outfits, each gets a second of applause as they join the line. After the final group kickline the lights suddenly go out. The audience expects to see them when the lights come back up but they’re gone. Where there’s normally a release for the audience and the actors there’s a sense of emptiness.

[alex814]

Posted: 11/25/18 at 8:46pm

CallMeAl2 said: "That nothing will ever come close to capturing the drama and tension of the original cast.

The gentle sadism of Zach and the desperation of the dancers torn between pleasing him and protecting themselves and each other dissapated after the cast split up. The ones that went to LA and SFO kept some of that quality on the road, but it was gone in New York.

The show quickly devolved into a line of performers each biding their time until their big number or scene.

That's what makes me sad. With new revivals my hopes are raised that someone can find those steely nerves trying to glide above the terror, but I am always disappointed. The music and staging and performances are thrilling, but there is no indictment of a system that would require people to beg and debase themselves just for the chance to work."

Hi there. Long time lurker, first time poster here. I'm really intrigued by your anecdote about the state of the show after the original cast had left New York. Is there a source where I can read more about this? 

[musical3]

Posted: 11/26/18 at 12:47am

BrodyFosse123 said: "The legendary "One" finale.

It always breaks my heart when the lights dim on the stage as Zach starts giving his statements after the audition ends and the cast dancers are showing their excitement which leads into the opening strains of "One". As each actor/dancer starts popping onto the stage all dressed in identical costumes, quickly the audience begins to stop recognizingwho the actor/dancer is as they all now all look the same. They applaud as they know its protocol but as each dancer starts filling the stage, they can't recognize any of the actors they saw earlierin their own clothes as now they all lookthe same. That was Michael Bennett's directorial choice.

A CHORUS LINE became what it became in the mid-70s because it showcased chorus dancers for the very first time. Chorus dancers who we always saw in the background now became people. We learned their stories. Why they danced. What their struggles were. They became human.

Michael Bennett chose to end A CHORUS LINE by bringing full circle this point of the no-name chorus dancer with his finale. Having all these dancers unrecognizable at the end of the show. After spending 2 hours with them, they are back in their unrecognizablechorus spots. The number "One" is a production number in the show they were auditioning for. If you look at the choreography, they are dancing around an invisible lead actress, hence the lyrics to the number. If you imagine a female center stage, you will see how they are dancing behind and around her.

Many still comment how A CHORUS LINE doesn't have a traditional curtain call unaware that "One" IS the show's curtain call. Each actors is taking their bow during the "One" vamp. Bennett had "One" end with the lights fading duringthe famous kickline and the house lights quickly turning on right atthe blackout. This left the audience sitting in their seatsbaffled as they expected a regular curtain call when the show ended. Sorry, folks. When you all were applauding the dancers bowing at the start of "One" then just kept on applauding just to applause as you no longer recognized who each one was, that was their curtain call. That was Bennett's way of making his point: these people who youlearned about and cared about were once again reduced to "One" same faceless person. A chorus dancer in a crowd.

"

Loved reading your entire post, especially your commentary about the conclusion of this show.  Brought back my memories of seeing it at the Century City Shubert.  My ex surprised me with tickets for superb seats in that cavernous venue.  The cast was fired up since one of the original Broadway female leads joined them for the evening's performance. 

For me, the most depressing part of A Chorus Line was Paul's knee injury because I could personally relate to that agonizing injury.  Dislocated knees are excruciating, a disabling condition for sure; it sidelined me from all active sports.  I can just imagine how devastating such an event would be in the life of a professional dancer.

 

Updated On: 11/26/18 at 12:47 AM

[CallMeAl2]

Posted: 11/26/18 at 1:37am

alex814 said:Hi there.Long time lurker, first time poster here. I'm really intrigued by your anecdote about the stateof the show after theoriginal cast had left New York. Is there a source where I can read more about this?"

I guess you need to have the "before" and "after". So, here are two books. You can probably find them in your local library system or cheap used copies on Amazon or eBay.

The "horse's mouth", so to speak, would be to start with the book On the Line, by original cast members Baayork Lee and Thommie Walsh with theater journalist Robert Viagas. The book recounts ACL through the eyes and remembrances of the original cast. You do have to read this knowing that they are not trying to tell an objective story - just like in the musical they are the story. All these people have been damaged by the show to some extent and have taken various routes coming to grips with the experience. But they can tell you what it was like to develop and then perform and live through that first year and beyond.

The second is  What They Did for Love: The Untold Story Behind the Making of A Chorus Line by Denny Martin Flinn. Flinn came to the show in the 1980s in the National Tour, but he was fascinated with the biginnings of the A Chorus Line and went back and interviewed most of the original cast. Flinn is also a good writer (he wrote the screenplay for Star Trek VI: The Undiscovered Country).so he has both more objectivity than the previous book, plus experience with the later incarnations of the musical. 

[dramamama611]

Posted: 11/26/18 at 5:45am

I don't find anything depressing about it. At all. Moments are sad, of course, and some incredibly so. When I see a wonderful production of ACL, I feel true catharsis.

I'll only one sad moment here I didn't see already mentioned: Diana Morales. While her song is largely comedic, I find the ending truly heartbreaking.

I enjoy the documentary (Every Little Step) and always miss that character's casting not being shown. I assume there was no story there.

[morosco]

Posted: 11/26/18 at 4:35pm

Does anyone know specifically why "What I Did For Love" was given to Diana to sing? Always seemed odd to me that she got 2 big solos. 

[Larry6417]

Posted: 11/26/18 at 7:10pm

Whats the most depressing part of A Chorus Line.....

....that no one gets the true intention of the last number. The dancers we have come to know during the show are now faceless and nameless, just like at the beginning, but now they dance around an invisible leading lady, or "the One".

[Bwayfan292]

Posted: 11/26/18 at 7:12pm

I’m changing my answer. I think it’s the bows. I rewatched the revival cast do “One” and the sad part was the audience didn't know who they were clapping for.