They have a history together: Zach had cast her in a featured part previously, and they had lived together for several years. She is a veteran dancer who has had some notable successes as a soloist. The dancers go downstairs to learn a song for the next section of the audition, but Cassie stays onstage to talk to Zach. Finally, the newly buxom Val explains that talent alone doesn't count for everything with casting directors, and silicone and plastic surgery can really help ("Dance: Ten Looks: Three"). Then, Greg speaks about his discovery of his homosexuality and Richie recounts how he nearly became a kindergarten teacher ("Gimme the Ball"). Don remembers his first job at a nightclub and Judy reflects on her problematic childhood while some of the auditionees talk about their opinion of their parents ("Mother"). The 4'10" Connie laments the problems of being short, and Diana Morales recollects her horrible high school acting class ("Nothing"). Mark, the youngest of the dancers, relates his first experiences with pictures of the female anatomy and his first wet dream, while the other dancers share memories of adolescence ("Hello Twelve, Hello Thirteen, Hello Love"). The scatter-brained Kristine is tone-deaf, and her lament that she could never sing is interrupted by her husband Al finishing her phrases in tune ("Sing"). When she was six, she realized that ballet provided relief from her unhappy family life, as did Bebe and Maggie ("At the Ballet"). Opening up, she reveals that her mother married at a young age and her father neither loved nor cared for them. Zach is angered when he feels that the streetwise Sheila is not taking the audition seriously. As he speaks, the other dancers have misgivings about this strange audition process and debate what they should reveal to Zach ("And."), but since they all need the job, the session continues. Bobby tries to hide the unhappiness of his childhood by making jokes. Mike took her place one day when she refused to go to class-and he stayed. He recalls his first experience with dance, watching his sister's dance class when he was a pre-schooler ("I Can Do That"). The first candidate, Mike, explains that he is the youngest of 12 children. The stories generally progress chronologically from early life experiences through adulthood to the end of a career. With reluctance, the dancers reveal their pasts. He wants to learn more about them, and asks the dancers to introduce themselves. Zach tells them he is looking for a strong dancing chorus of four boys and four girls. After the next round of cuts, 17 dancers remain. Every dancer is desperate for work ("I Hope I Get It"). The formidable director Zach and his assistant choreographer Larry put the dancers through their paces. The show opens in the middle of an audition for an upcoming Broadway production. It began a lengthy run in the West End in 1976 and was revived on Broadway in 2006, and in the West End in 2013. A Chorus Line's success has spawned many successful productions worldwide. It remains the seventh longest-running Broadway show ever. The original Broadway production 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 Chicago. An unprecedented box office and critical hit, the musical received twelve Tony Award nominations and won nine, in addition to the 1976 Pulitzer Prize for Drama. A Chorus Line provides a glimpse into the personalities of the performers and the choreographer as they describe the events that have shaped their lives and their decisions to become dancers.įollowing several workshops and an Off-Broadway production, A Chorus Line opened at the Shubert Theatre on Broadway July 25, 1975, directed and choreographed by Michael Bennett. Centered on seventeen Broadway dancers auditioning for spots on a chorus line, the musical is set on the bare stage of a Broadway theatre during an audition for a musical. & Asia Tour A Chorus Line is a musical with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood Jr. and Nicholas Dante.
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