A Chorus Line
A goosebump worthy performance, in the best possible way! The first of their few shows at Norwich Playhouse drawn to a close, there was not one underwhelming stage presence from the cast.
Once named as the longest-running musical in the history of Broadway in 1983, the Threshold Theatre Company and others have taken to the stage to rebirth the famous story of, A Chorus line, at the Norwich Theatre Playhouse this Summer. Based off the famous book by James Kirkwood and Nicholas Dante, these performers gave a whole new meaning to the tales behind each and every dancer, stealing the stage with their award-winning high-quality productions.
If this theatre title is a new name to yourself, as it was for me until a few weeks ago, let me tell you the storyline of the production, with no spoilers of course! Set in New York City, in late 1970, a group of dancers are auditioning to become part of the Chorus. The large group narrowed down to 16 dancers, to eventually become the final 8, tell their stories of how they became dancers with wit, emotion, humour, charm, and contagious energy. As their backgrounds unravel one by one, it’s revealed some pasts were filled with more hardship than others, but all characters tell their story with their unique personality accompanied by powerful choreography by Michelle Unstead and Bob Avian and captivating lyrics by Edward Kleban.
As a theatre fan myself, the restrictions in the past 2 years have refrained me from seeing any type of arts production, but I was not in the least bit disappointed to have this incredible performance entice me back into the world of theatre. Completely engrossed from the first lyrics of ‘I hope I get it’ in the opening scene, right through until the whole cast came to take their, well deserved, final bow. The audience concurred my feeling of astoundment, with the cheers and lengthy applause from the entire crowd. I wouldn’t describe it as a family friendly performance, touching on the theme of sexuality throughout in comedic and emotional ways between each character’s personal experiences. Accompanied by the odd swear word paired with wit, creating comedy for a more mature, or should I dare say, older viewer, but a feel-good show for definite! The audience was packed with all ages of adults and an empty seat could only be spotted few and far between.
The staggered entrance onto the stage from the diverse cast, was very natural and relaxed, my eyes immediately drawn to the bright lycra leotards and neon leg warmers sticking out on the stage, bringing the 1970’s style into focus and tapping into the famous ‘let’s get physical’ aesthetic. Characters relationships, personalities and superiority gently shine through to set the scene before bursting to life with the first dance routine of the night in the opening scene; already radiating talent. Set in an industrial style dance studio, working in cohesion of the Playhouse theatres naked brick work back drop, reinforced with the innovative switching panelsbrick wall pattern to mirrors. This consistent set design rotation came into play heavily when solos began to run through the line-up, warmer lighting used for light-hearted and comedy based personal experiences, switching with the blue and colder toned lighting for more emotional, tense parts of the performance.
Almost narrating the show and leading the cast is director Zach played by James Bell, his voice heard more than he is seen, creating this emphasis on the pressure of the audition, guiding the cast through their gruelling audition process, and setting them up for some of their best lines, with his leading and partly intrusive questions.
Al and Kristine, played by Daniel Herman and Georgia Skipper, made a wholesome married couple, preforming their entertaining duet of ‘Sing’. His powerful vocals, rung with deep opera like sound, contrasting with her characters nervous attempts at holding a note, later paired with the ensemble of the entire casts vocal; highly amusing to watch and the roar of applause showed I was not the only one that loved this fun number.
Solo stage performance, excluding the out of sight but very present voice of director Zach, Cassie played by Kathryn White, captivated the audience with her not only singing solo but graceful and powerful dance performance that involved beautiful silhouette holds and energetic leaps across the stage. Introducing her intriguing relationship back story that becomes more prominent in the latter half of the show.
Following this was a second solo performance from Paul, played by Nic Gordan, an emotional monologue, with no dance routines or song, just his raw experience of growing up in Catholic environment, an extremely touching part of the show, portrayed with empathy contrasting to the more light-hearted story telling throughout the night.
Beautiful duet lifts from the amazingly talented Judy and Greg, played by Sophie Chapman and Daniel Elliott, was one of my favourite parts of the show and deserves a special mention! Their grace and elegance performing lifts and dances together was a real highlight for me, also his dance performance stood out to me, perfectly embodying his character with his fun lively portrayal of his past, amongst the array of tap dancing, ballet and energetic leaps and routines from the entire cast.
The unity in the finale following such parade of emotions in the 2-hour performance struck an emotional chord in me, as all the actors took to the stage with their energetic grand finale of ‘One’. A goosebump worthy performance, in the best possible way! The first of their few shows at Norwich Playhouse drawn to a close, there was not one underwhelming stage presence from the cast.
