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Wednesday, April 28, 2010
‘Chorus Line’ connects with stark simplicity
It’s generally true that the biggest shows have the most impact at the Schuster Performing Arts Center. You know, the ones with flying green witches or masked opera coaches lurking in underground lagoons.
On Tuesday night, April 27, an unadorned and simply dressed Selina Verastigui held the stage all by her compact self as Diana midway through “A Chorus Line,” which wove stark, simple magic while opening a week’s stay in the Broadway Series at the Schuster.
Much the same could be said for Rebecca Riker as Cassie, Kristen Martin as Val, Kit Treece as Bobby and several other members of a first-rate touring company and revival of a 1975 show that preceded “Wicked” and “The Phantom of the Opera.” It will eventually be surpassed in numbers of Broadway performances by both, but endures in part because it is a reaction to splashy, highly produced shows like them.
It has mirrors, but not one wisp of stage smoke.
It portrays the theater as temple, not amusement park.
That aspect of “A Chorus Line” can make it riveting.
It reached that potential several times on opening night. The most significant instance was during Riker’s interrogation by unseen director Zach (Derek Hanson). She was thoroughly convincing both as the former featured performer yearning for a spot in the ranks of the anonymous chorus and as a dancer whose solo demonstrates why she is special. Her performance was one reason why this “Chorus Line” was so much more effective than a succession of previous tours 15 and more years ago.
The soul of this one is immediacy, not nostalgia. Even the potential thicket of ‘70s psychology is held at bay, for the most part.
“A Chorus Line” has never been just about dancers, although it used to be mostly about them — Broadway’s migrant workers, who are always looking for work. If they get a show, it might be short-lived. Then they’re back on the street, looking for another.
The lyrics “I really need this job” and “I hope I get it” aren’t just for dancers these days.
Staged marvelously by original cast member Baayork Lee, the choreography by creator Michael Bennett and co-choreographer Bob Avian is a product of its time. So are some of the monologues. The impact of parental legacy, as described by some of these twenty and thirtysomethings, seems quaint and loving from the more cynical current perspective.
But “Chorus Line” still has kick. It’s funny, touching, energetic, tuneful, familiar, but still surprising. At least for this week, you won’t miss the witches or the music of the night.
It will continue through Sunday, May 2, at the Schuster, Second and Main streets. Running time is two hours. There is no intermission. Tickets are $35-$87. Call (937) 228-3630 or make reservations at www.ticketcenterstage.com.
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