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A Chorus Line Gets A Much Deserved Glorious Encores! Production

A Chorus Line Gets A Much Deserved Glorious Encores! Production

Going to see the New York City Center Encores! production of A Chorus Line is a most wondrous trip down memory lane to a time when I was all young and innocent, just like many of those magnificent creations on stage last night. Don’t tell Mama, but I used to sneak a way to New York City from my little Canadian city of London, via Buffalo and People’s Express Airlines when I was a teenager, far too young to be doing that, but I just needed to spend a weekend of seeing Broadway musicals (and a few plays).  I’ve written about these moments before on this blog, but this time, it’s about the quintessential musical of all those trips is A Chorus Line.  I don’t recall if it was my first true Broadway musical or my second (Dreamgirls might be my first), but the lives and loves of these dancers were already firmly cemented in my head from the audio tape I had at home. These dancers meant something profound to me and my passion, just as much as musical theatre meant to these characters, and the people who helped create them. I remember it clearly, seeing it the Shubert Theatre sometime around 1980 (it actually opened in 1975), and the 2006 revival with a cast that included Charlotte d’Amboise and Tony Yazbeck, (the 1985 movie version isn’t worth mentioning), and just like this current NYCC production, A Chorus Line is directed by Bob Avian, who won his first Tony Award as co-choreographer for the original production of A Chorus Line, with Michael Bennett’s original and monumental choreography being reconstructed by Baayork Lee, Broadway’s original Connie Wong.

Encores!A Chorus Line
Tony Yazbeck (center) and cast of A Chorus Line. Photo by Joan Marcus.

Those two are back, with revival Al DeLuca, Tony Yazbeck (Broadway’s Prince of Broadway) transferring to the power role of director Zach, with the musical director/coordinator Patrick Vaccariello (Broadway’s West Side Story) and orchestrations by Jonathan Tunick, Bill Byers, and Hershy Kay giving glorious musical splendor to Edward Kleban’s lyrics and Marvin Hamlisch’s music, for which they received the 1975 Tony, Drama Desk, Olivier Awards, as well as the Pulitzer Prize. Michael Bennett’s conceptual piece, drafted together by a group of frustrated dancers, led by Tony Stevens and Michon Peacock, is beautifully realized once again on the NYC stage, and it hasn’t lost any of its power or appeal.  With a cast of spectacularly talented dancers and singers, A Chorus Line resonates just as it did for me 28 years ago. The songs are firmly planted in my head with every word and accent still present and persistent. With other shows, that fact sometimes makes it hard to enjoy a fresh new version, but with the likes of Diana, played magnificently by Tara Kostmayer (La Jolla’s Ojo) singing the glorious “Nothing” and the epic “What I Did For Love“; Mike, powerfully played by Tommy Bracco (Broadway’s Pretty Woman) decimating the dance floor with an athletic and divine rendition of “I Can Do That“; or Sheila (Leigh Zimmerman – Olivier Award winner for West End’s A Chorus Line), Bebe (Naomi C. Walley – Broadway’s Chicago), and Maggie (Sara Esty – Encores’ Grand Hotel) breaking our heart with “At the Ballet” (one of my all time favorites), the glorious wonder of the piece remains solid and everlasting. J. Elaine Marcos (Broadway’s Annie) also takes on one of the most memorable songs, “Dance: Ten, Looks: Three” with renewed clarity and vigor disarming all.

Encores!A Chorus Line
J. Elaine Marcos (center) and cast of A Chorus Line. Photo by Joan Marcus.
Encores!A Chorus Line
Jay Armstrong Johnson (center) and cast of A Chorus Line. Photo by Joan Marcus.

Everyone shines in this piece, just as they should, with nary a step out-of-place.  Jay Armstrong Johnson (Broadway’s The Phantom of the Opera, off-Broadway’s The Man Ones) is gorgeous and dynamic as Buffalo Bobby spinning a tale that is as delicious as he is; Kate Bailey (Paper Mill’s Grease) kills triumphantly as the off-key Kristine with help from the cute and talented Joseph J. Simeone (Broadway’s A Bronx Tale) as the adorable husband Al; the heavenly and handsome Max Clayton (Broadway’s Hello, Dolly!) as strip club stud, Don, delivers; David Grindrod (Beauty and the Beast – national tour) gives Mark the holy power of divine confession; Jolina Javier (Avery Fisher Hall’s Cinderella) is a huge presence as a petite firecracker exploding forth as Connie; Denis Lambert (Encores’ Finian’s Rainbow) is perfection in droll and fabulous black as Greg; Melanie Moore (Broadway’s Fiddler on the Roof) is quirky and pixie adorable as Judy, and Anthony Wayne (Broadway’s Once on this Island) is simply being fantastic as the high kicking coulda-been kindergarten teacher, Richie. A magnificent symbiotic sensation.

Encores!A Chorus Line
Anthony Wayne (center) and cast of A Chorus Line. Photo by Joan Marcus.

In addition, acting chops go to the dancer Eddie Gutierrez (Ars Nova’s Loveology), as the quieter and possibly more damaged Paul. He tears us apart, perfectly balancing pain and persistence, fear and discomfort for us all to connect with. It’s one of many moments with this superb recreation when we get to see the struggling souls behind the bodies, the pain behind the pirouette, and the passion that lives inside the strong and defiant dancer looking for that beginning, that middle, or that final bow. Robyn Hurder (pre-Broadway’s Moulin Rouge) defines this determination and heart-break with every sound that comes out of her mouth, taking on the complicated and powerful Cassie, singing and dancing her heart out magnificently with the classic “The Music and the Mirror“. She’s an absolute glorious dancer, but it is when she belts out those lyrics that we truly feel we are seeing inside and joining with her passion. The somewhat forgotten are the first to be cut, but they also deserve our praise. It’s not easy finding unique characters in the eliminated ones, bringing carefully discovered personality to the forefront within those first few moments of that incredible conceived audition medley: Callan Bergmann (Broadway’s Kinky Boots) as foot-gazing headband-wearing Frank, Natalie Bourgeois (MUNY’s Hairspray) as ballerina Lois, Wesley Ian Cappiello (Gypsy – national tour) as wrong-armed Roy, Aaron Patrick Craven (Dirty Dancing – national tour) as the attitude filled Butch, Emily Franch (White Christmas– regional) as the non-ballet trained Vicki, Jenna Nicole Schoen (NY’s Jersey Boys) as solo Tricia, and Ahmad Simmons (Broadway’s Carousel) as standout jock-man, Tom.

Encores!A Chorus Line
Robyn Hurder of A Chorus Line. Photo by Joan Marcus.

Ryan Steele (Broadway’s Newsies) delicately leads the dancers through their routines as assistant Larry, and in his presence and the demanding way he leads these dancers through the paces, it reminds us that Encores! does the seemingly impossible.  This crew of super talented professionals is given the shortest of rehearsal periods to pull this synchronicity together in record time.  Each one needs to perform with precision, and the shocking thing is that they do. A Chorus Line dazzles and intoxicates, even if you forget about the preparation time frame.  I have a feeling that within the opening dance audition segment, for a dancer to purposefully make choreographed mistakes might be far more complicated and unnatural than getting it right. It’s equal to the moments when Kristine has to astoundingly sing off-key, but that is just my guess and you can correct me if I’m wrong. But this crew doesn’t miss a step. To dance and sing this show as clearly a unit as they do, is utterly amazing, and a testament to everything this show is about. These gypsies deserve the stars, and our praise. So stand up and cheer for A Chorus Line. They are, obviously, one singular spectacular sensation, historically and into the future.

Encores!A Chorus Line
The cast of A Chorus Line. Photo by Joan Marcus.


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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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