Review: A CHORUS LINE at Barrington Stage Company

Seventeen dancers audition for a coveted spot in the next hot Broadway show. To make it, they must prove they have more than just talent — this will take grit. In a major musical production, Barrington Stage Company (BSC)’s Artistic Director, Alan Paul directs the Pulitzer and Tony Award-winning musical that eclipsed all others when it shot to fame 50 years ago.

The original Broadway production of A CHORUS LINE ran for 6,137 performances, becoming the longest-running production in Broadway history until surpassed by CATS in 1997, and the longest-running Broadway musical originally produced in the US, until surpassed in 2011 by the revival of CHICAGO It remains the seventh longest-running Broadway show ever. A film adaptation was released in 1985.   A CHORUS LINE 's success has spawned many successful productions worldwide. was revived on Broadway in 2006, and in the West End in 2013.

Director, Alan Paul says: “People don’t want you to mess with it too much.  They’re less interested in seeing your version of A CHORUS LINE than just seeing it done with extraordinary feeling, great dancing and powerful singing.  So, that’s what we’re going to do!”

Paul is thrilled to have choreographer Parker Esse whom he has worked with previously on board for this production.  Early in his career, Esse, worked closely with Baayork Lee, the original Connie in the original Broadway production.  He has also been referred to as “the keeper of A CHORUS LINE”, re-staging productions with the original choreography for decades all over the world.

Over 500 so-called “triple-threats”, those with skills and abilities acting, singing, and dancing auditioned for this production.  The majority of the 120 minute (presented without intermission) is filled with high energy song and dance numbers that present each of the cast members’ origin stories.  The cast includes Gaby Albo as Diana, Travante S. Baker as Larry, Lauren

Barkman as Maggie, Dalton Bertolone as Bobby, Danny Binstock as Zach, Haley Bjorn as Kristine, Alli Bossart as Lois, Deanna Cudjoe as Cassie, Anthony DaSilva as Mike, Jess DiForte as Val, Alexandra Frohlinger as Bebe, Bailey Reese Greemon as Judy, Kristin Greeve as Tricia, Patrick Higgins as Mark, Jolina Javier as Connie, Ashton Lambert as Al, Wilson Livingston as Roy, Adam Mandala as Don, Ryan Mulvaney as Greg, Juan Romero Munoz as Frank, Jonah Nash as Richie, Nina Pagan as Nina, Rafa Pepen as Paul, Ellie Racunas as Vicki, Eli Schulman as Tom, and Scarlett Walker as Sheila.  Each of the above delivering very strongly, particularly with the song and dance elements in numbers including “I Can Do That”, “At the Ballet”, “Nothing” and “What I Did for Love”.  

The musical numbers overall are so well executed it would be unfair to single out any over the rest.  One could almost see the high-quality performance throughout this production as an issue.  Although, the premise suggests the cast, with the exception of one or two individuals, are all young and inexperienced, most of them come across as well seasoned professionals that certainly deliver the goods.

The live orchestra includes Helen Gregory Keyboards1 + Conductor, Sean Michael Flowers Keyboards2 + Associate Conductor, Zach Robarge Reeds 1, Lyundon Moors Reeds 2, Brett Wery Reed 3, Tim Wendt Trumpet 1, Sheldon Ross Trumpet 2, Kristoffer Danielsen Trombone, Will Hack Bass, and Dov Michael Schiller Drums & Percussion.   Assistant Director is Shira Helena Gitlin, Lighting Programmer is Chris Nimick, Stage crew includes Adele Daniels and Jody Diaz, Deck Crew Chief is Danny Logue, and Dressers are Jez Laurin, Jamie Mattheus, and Sunny Nordberg.  

In the end, what started out as an endeavor to show the dancers as individuals, is wrapped up with the musical number "One" (Reprise/Finale) which begins with an individual bow for each of the 19 characters, their hodgepodge rehearsal clothes replaced by identical spangled gold costumes. As each dancer joins the group, it becomes difficult to distinguish one from the other: ironically, each character who was an individual to the audience seems now to be an anonymous member of a never-ending ensemble.

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