BWW Reviews: Stages St. Louis Dazzles with Their Production of A CHORUS LINE

The original production of A Chorus Line grew out of workshops organized by director/choreographer Michael Bennett where dancers and performers discussed their various joys and hardships of a life spent pursuing the stage as an occupation. James Kirkwood, Jr. and Nicholas Dante pieced together these elements to form a compelling story focusing on the anxieties facing a group of dancers auditioning to be in the chorus of a Broadway show, while Marvin Hamlisch (music) and Edward Kleban put their tales to a catchy score that's still decidedly hummable. Stages St. Louis opens their 25th season with this timeless masterpiece, and it's a dazzling production filled with wonderful performances, nurtured by the excellent work of director Michael Hamilton and choreographer Kim Shriver, who neatly recreate the original magic.

As stated above, the story follows a group of dancers who are desperate for work at a time (the 1970's) when Broadway was scaling down and jobs were scarce (has anything really changed?). Along the way we meet characters who are representative of all the "gypsies" who traveled from show to show looking for their big break. Though the show may not seem quite as groundbreaking as it once did, it's still incredibly engaging and powerful stuff, and it reminds us of the dedication and commitment to their craft that is required in order to succeed.

David Elder is simply terrific as the stern but caring director, Zach, who's tasked with choosing the final eight who will wind up in the show, and Jeffrey Pew is also quite good as his right hand man, Larry. Jessica Lee Goldyn makes a vivid impression as Zach's former girlfriend and showstopper, Cassie who's fallen on tough times and now just needs a job. Her work during "The Music and the Mirror" is superlative.

Jeffrey Scott Stevens (Al) and Hilary Michael Thompson (Kristine) are charming as newlyweds looking to pay the rent, and Leonard Sullivan charms as a former kindergarten teacher trying to fulfill his real ambition. Laura Taylor amuses as a tall drink of water named Judy, who can't seem to remember her number, and Leigh Wakeford is funny as the vainglorious Bobby, who figures if Tab Hunter can make it in showbiz, then so can he. Kimberly Wolff is perfect the acid-tongued and slightly over the hill Sheila, and Vanessa Sonon is equally up to task as Val, a dancer who finds success once she gets her nose fixed and adds a pair of breast implants ("Dance:Ten Looks: Three").

Christopher Rice has fun with his role as Mark, whose precocity as a child led him to diagnose a nocturnal emission as gonorrhea, and Sean Patrick Quinn (Greg) also has a blast discussing how his first experience with the opposite sex led him to discover his homosexuality. Laura Auignaga (Bebe) and Laura Oldham (Maggie) also contribute nicely to the proceedings. Mike McGurk does fine work as Mike, who started dancing at a very early age, and he contributes the bouncy number "I Can Do That".

But the heart of the show is explored in the roles played by William Carlos Angulo (Paul), who talks about his time working in a drag show, and Jessica Vaccaro (Diana), who admits to feeling "Nothing" when her acting teacher had her performing improvisations. Vaccaro also gets the opportunity to kick off the show's most memorable and recorded song, "What I Did For Love" and, along with the rest of the company, brings it to spectacular life.

Mention should also be made of the supporting cast who are quickly dismissed from the auditions, including: Tony Howell, Leeds Hill, Taylor Pietz, Brandon Haagenson, Julie Kavanagh, Borris York, Jill Slyter, Tanner Lane and Becca Andrews.

Director Michael Hamilton and choreographer Kim Shriver bring the 70's vibe back without this ever seeming like a period piece, and musical director Lisa Campbell Albert does her usual fine job with the vocalists. Mark Halpin's simple black stage with mirrored backdrop is also faithful to the original concept, and Brad Musgrove's costumes neatly suggest the era without going too far. Matthew McCarthy's lighting is properly dramatic, and Stuart Elmore's orchestral design captures the sound of the original arrangements.

This production of A Chorus Line is exquisitely entertaining, and a very fitting show to represent the amazing work that Stages St. Louis has given audiences over the past 25 years.

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