Interview: Pelton, Brightbill, Walko, Marshall-Michelson of A CHORUS LINE at Dutch Apple

A Chorus Line, featuring music by Marvin Hamlisch, lyrics by Edward Kleban, and book by James Kirkwood, Jr. and Nicholas Dante, first opened in 1975 under the direction of Michael Bennett with co-choreographer Bob Avian. This unique, award-winning, and long-running production gives audiences a glimpse into the lives and personalities of a group of performers as they compete for spots in a dancing chorus. Dutch Apple Dinner Theatre brings A Chorus Line to the stage September 26th through November 1st. As A Chorus Line is truly an ensemble show, we had the opportunity to speak with four of the performers. Liv Pelton (Cassie), Matthew J. Brightbill (Mike), Melina Walko (Sheila), and Dagmar Marshall-Michelson (Diana) shared a little of their lives and experiences with us.

BWW: Tell us a little about yourself.

Pelton: My name is Liv Pelton. I live in NYC, but I am originally from Milledgeville, Georgia. I am a Summa Cum Laude graduate of Brenau University where I received a BFA in Musical Theatre, and a BFA in Acting. I’ve performed professionally across the country, with my most recent credits including Crazy For You (Polly Baker), Legally Blonde (Brooke Wyndham/Elle Cover), Grease (Sandy), Beautiful: The Carole King Musical (Cynthia Weil), White Christmas (Judy Haynes), and The Addams Family (Morticia). When I’m not performing, I’m usually reading, writing, drawing, or thrifting. My professional website is livpelton.com.

Brightbill: My name is Matthew J. Brightbill. I am originally from Cleveland, Ohio, but I moved to New York City after graduating from Ohio Northern University with a BFA in Musical Theatre. I have a twin brother, I am super competitive when it comes to Mario Party, and I am happiest at the beach.

Walko: I’m originally from Pittsburgh, PA. My theatre journey began with singing and dancing along to “Barney”. From that moment on, I was hooked. I moved to NYC five years ago to pursue theatre and graduated from Marymount Manhattan College with a BFA in musical theatre.

Marshall-Michelson: My name is Dagmar Marshall-Michelson, and I’m from Union City, New Jersey! I started doing theatre when I was about 5 years old, and since then I just never stopped jumping around and dancing. I studied at the American Musical and Dramatic Academy and later at the New School!

BWW: During the interview, we discovered some interesting things that folks had in common. For instance, when asked “what is your favorite role to date, and why is it your favorite?” two of the performers named the same show.

Brightbill: Riff in West Side Story is my favorite role. I’ve gotten to spend time with “buddy-boy” twice, and both times have been magic. It’s a true joy working on a part that requires you to dance, act, and sing with everything you’ve got. I love how witty, passionate, and loyal Riff is (even if the passion does get him into trouble... spoiler alert). It is a privilege to be part of such an iconic show that continues to inspire audiences to overcome societal divisions of bigotry and misunderstanding and to let love prevail! Plus, getting to sing and dance “Jet Song” and “Cool” is pretty neat.

Marshall-Michelson: This is a tough one, but I am going to have to go with Anita in West Side Story. It is such an iconic role and a beautiful show to be a part of, especially as a Puerto Rican woman myself. I grew up watching the movie with my mom and tias over the years. I remember watching Rita Moreno on the screen and seeing a Puerto Rican actress doing what I wanted to do. I saw someone who represented my culture, and I wanted to be part of that magical history. Being able to step into a role that allowed me to fully immerse myself in my family history and culture meant so much to me. I was challenged physically and emotionally in ways I never thought I could get through, but I proved myself wrong. What a dream it was to sing and dance some of the most iconic numbers in Broadway history. It was a truly unforgettable experience.

Pelton: My favorite role is Sally Bowles in Cabaret. As a performer, the opportunity to develop such an emotionally complex character, while being able to work in all three areas of musical theatre performance (singing, dancing, and acting), is a very exciting challenge. As a person, working on a piece as critical as Cabaret, with its social commentary and warnings of growing apathy and complacency in our world, is why I chose this career path. We entertain through the stories we tell, but our work also creates positive change as well.

Walko: Velma Kelly from Chicago! I have always loved the Fosse dancing style, and it was super-fun to play a brassy, vaudevillian-murderess.

BWW: All four of these performers shared similar sentiments regarding A Chorus Line, which has the distinction of being among the longest running musicals on Broadway. When asked “what makes this musical so popular?” responses focused on it’s humanity, reality, and behind-the-curtain peek into the world of theatre.

Pelton: This musical is a love letter to performers. If you see a Broadway show today, you may recognize the headliners, but will you know the names or the faces of the performers around them? A Chorus Line humanizes the people behind the shows you see. I believe people are fascinated by it because of the way it details how and why performers go through the competitive and physically demanding challenges of our work. It’s a mirror to the industry, with incredible songs, scenes, and choreography, and it was introduced at a time in our history when Broadway was dying. It brought something unique, compelling, and very real to New York, and it revived our industry in the 1970’s. Here we are, exactly 50 years later, and the work still holds true.

Brightbill: Everyone can relate to having a dream. A Chorus Line continues to capture hearts and minds because it provides an honest look at 20+ dancers fighting for a spot to achieve their dream. This show humanizes experiences that so many people pursuing a career in the arts go through, and it gives audiences a chance to reflect on their own lives and pasts while watching a group of people go through an audition!

Walko: Performers have always been these mysterious creatures to the general public. They’re people who tell others’ stories for a living, but do not often tell their own. A Chorus Line is one of the first shows to tell performers’ real personal stories from the performers themselves, while immersing the audience in the process of an audition for a Broadway show. While the stories are no longer being told by the actual performers, the sentiment stays the same. It’s the show's honesty and rawness that make it so memorable (and of course the fabulous dancing!).

Marshall-Michelson: This show has heart. There is a sense of reality and humanity within the stories and the people. In the creation of A Chorus Line, many of these stories told within the show were inspired by stories recorded on tape. As a performer, I’m sure many will know that feeling of “I really need this job” and “I hope I get this job” and the time and dedication that goes into auditioning, only to be passed up or told that this wasn’t their time. We truly get to see these characters open up and show the audience their vulnerable and raw moments. It’s a glimpse into the struggles of the industry.

BWW: A Chorus Line is an ensemble show that really focuses on the characters and their stories. So, we took a moment to talk about their roles.

Pelton: Cassie is a Broadway veteran whose work took her out of the chorus and into the spotlight early in her career. She left Broadway for a few years to pursue film acting, but couldn’t make the transition work. Now she’s back where she started, to fight for the chance to perform again.

Brightbill: Mike Costa is a 24-year-old Italian-American from New Jersey. He is charming, cocky, flirty and has a small temper. Most importantly, he CAN do that!

Walko: She’s a Leo.

Marshall-Michelson: Diana Morales is an edgy little firecracker, with a lot of love and loyalty in her heart. I think she tends to undermine herself and her internal strength, but she is full of nobility and motivation to keep going, even when it gets tough. It makes it hard not to relate to and love her.

BWW: Since the characters in A Chorus Line share their stories during an audition, I was curious about the audition experiences of these actors and asked them to briefly share a memorable audition experience from their own careers.

Pelton: Two years ago, I was able to get an audition slot for a company that was holding auditions in New York. For the first round, I was permitted to sing 16-bars (roughly 30 seconds) of a song, which secured me a callback to dance the next day. During that callback, I learned and performed new choreography for the audition panel in less than an hour. From this I received a final callback for roles in two of their shows. I had to memorize ten scenes and two songs overnight, and I came back the next day to perform them. They originally auditioned around 400 people, and they chose 22 for their production of The Addams Family. That was my first show at Dutch Apple, and I played Morticia.

Brightbill: The first time I got to audition for a Broadway production was exactly one month after I moved into my first NYC apartment! It was such an exciting day. I danced my heart out and got to stay and sing for the casting table. I didn’t get the part, but getting to go to an invited call one month into living in NYC and confidently displaying my abilities to the casting team is something I’m very proud of!

Walko: The day started as your typical audition. It began with a dance call, and then it was time to sing. I went to change into my dress to realize I had forgotten my bra. I scrambled to try to make it work, but to no avail. Then, a bit of a crazy idea popped into my head. My mom was in the area, so maybe she could give me hers! Luckily, she agreed to it and was going to bring it to me. However, before I was able to meet her, the plastic bag with my bra had made its way to a front desk person and into the hallway, where it was announced that, “Melina Walko’s ‘personal item’ had arrived." Well, the plastic bag was very see-through and everyone in that room immediately knew what I had forgotten. I was mortified to say the least, but it reminds me that I do have the best mom ever and to never forget my “personal item” again.

Marshall-Michelson: One of my special skills is that I can do a Jennifer Coolidge impression. During this callback they asked me if Jennifer Coolidge spoke Spanish and, sure enough, I started speaking Spanish as Jennifer. This went on for about a minute, and they had to stop because they were laughing so hard and in a time crunch. I left the callback feeling good, and on my way home I got crapped on by a pigeon. It was New York’s way of telling me, “Good Job”!

BWW: Another question that garnered some consensus was “what is your favorite song in this production (it doesn’t have to be a song you personally perform)? Why is it your favorite?”.

Pelton: “What I Did For Love,” will always be my favorite song from this show. We get to perform for such a brief time, and I don’t take a second of that blessing for granted. I will always be grateful that I got to do what I love in this life, and that is what the song encompasses.

Walko: “What I Did For Love” perfectly encapsulates the sacrifices performers have to make for the art form, while emphasizing how it’s worth it in the end. Singing it reminds me that there have been, are, and will be performers going through the same trials and having the same dreams. It’s a legacy, and it’s comforting to be a part of that.

Marshall-Michelson: “What I Did For Love” has to be my pick. The message behind it is so universal. My favorite line in the song is “The gift was ours to borrow”. This show has seen so many generations of Cassies, Dianas, Mikes, Connies, Bebes, etc. What a privilege it is to be able to do this show, dance this iconic choreography, and tell these stories. I have the privilege of being about to stand right in the middle, surrounded by this incredible cast as they blend and harmonize together, it is overwhelming in the best way.

Brightbill: “Montage Part 3” and “Montage Part 4” are EASILY my favorite parts of the show. The prancing choreography coming back on during Don’s solo and all the little breakout solos from the whole cast AND THEN getting to go into Richie’s Gimme the Ball choreography…it truly is such a gift to perform! If you have NO idea what I’m talking about, you’ll just have to come see the show and find out!

BWW: So often, audiences only get to see the final product of hours and hours of hard work. This led to one of our final questions: What has been the most challenging thing about preparing for this production and what has been the most fun or rewarding part of this production?

Pelton: The most challenging thing for me has been building up the stamina for this role. Cassie is alone on stage for an eight-minute scene, song, and rigorous dance solo that doesn’t even happen until over an hour into the show. Building up the endurance for that moment has been a fun challenge. The most rewarding part of this production is getting to work with these sweet, wonderful people. It is a rare thing to be part of a show where every single person is as kind, generous, and supportive as this cast is. We are the luckiest folks in the world!

Brightbill: The most challenging part of preparing for this production was getting out of my own head. As dancers, we are always looking at ourselves in the mirror and picking apart our performances and thinking “I could do ____ better…” or we are comparing ourselves to others in the room and thinking “I wish I could do _____ like them.” This segues into what is the most rewarding part of this production for me. Before our whole cast arrived, a couple cast members with longer individual numbers were brought here to stage our numbers first. I was already in my own head going over the music, but our INCREDIBLE director/choreographer, Raymond Marc Dumont, said “You know, we’re not re-auditioning you for the part, right?” Ray leads the rehearsal room with so much positivity, grace and support, and he encourages everyone in the cast and everyone working on the show behind the scenes. He reminds us that we are allowed to make mistakes in rehearsals and that the crux of the show is not executing every dance move perfectly—it’s connecting with and honestly telling the stories of these dancers from the 1970’s. This took so much pressure off the process and allowed me to approach this project with a clear head and better retain the information given to me! Being in a room with so many talented, kind people, and being led by someone like Ray has been the blessing I didn't know my life needed right now!

Walko: The sore muscles has been a challenge, but that’s to be expected with a heavy dance show. The most rewarding part of this process has been working with such a wonderful cast and team. It has been amazing to see each person shine and share their joy and stories with each other. I feel so lucky to be working with such a supportive group of people.

Marshall-Michelson: Building up the physical and emotional stamina was a challenge. We are dancing 110% percent while singing and harmonizing on that stage, and it is no easy feat! Personally, it just gives me more of an excuse to delve into my self-care routine and ground myself in how I start and end my days. I am dedicated to making sure I am the best I can be physically, mentally, and emotionally for myself and my team. This is my 3rd time on the “line” and with my girl Morales. It feels so different to be coming back to this role a bit older and wiser than I was before, it makes me feel closer to her. I forget how much I relate to her and her story. She reminds me to stay present and grateful for the current moment. I could not do my job without this amazing, incredible, and loving cast. From the first day of rehearsals, I could just feel we had such a special group of individuals. Getting to work with this cast has been such an honor and a blessing. There is so much care and dedication in the room, and I am in awe of everyone and their hard work.

BWW: Finally, I asked the performers to put themselves in the audience’s shoes: in your opinion, what will audience members most enjoy about this performance?

Pelton: Along with getting to see Michael Bennett and Bob Avian’s original Broadway choreography expertly re-staged by our incredible director Ray Dumont and dance captain Joshua Bellamy, I think audience members will enjoy the honesty and sincerity of the show. These are true stories of real past performers, being told earnestly by this generation’s performers. It’s unlike any other show.

Brightbill: I think they’ll all leave the theatre thinking about the finale and the image of all of us in gold suits and top hats doing a kick line for a long time!

Walko: This show is humanity on display in its truest form. Our cast has brought themselves to these iconic roles in such an honest way, while honoring the soul of A Chorus Line. Plus, the scrumptious ’70s choreography is just stunning. I am very excited to share this beautiful story with our audiences!

Marshall-Michelson: Other than the talent beaming off of the Dutch Apple stage, the iconic choreography keeps the integrity of the original vision and concept for the show. These aren’t just actors telling people’s stories, we are real people telling stories of those who came before us.

As Liv Pelton says, “Please keep supporting the arts!” Visit www.dutchapple.com for your tickets for A Chorus Line!