A Chorus Line, London Palladium | Theatre reviews, news & interviews
A Chorus Line, London Palladium
Thrilling return for the 1970s Broadway masterpiece
Even singular sensations grow older - yet A Chorus Line, which coined the phrase, seems ageless, so sure is it of its place in musical theatre history, so locked now into our theatrical consciousness. It is, no question, a wonderful show whose fabric of book (James Kirkwood and Nicholas Dante), music (Marvin Hamlisch) and lyrics (Edward Kleban) is seamless and, more importantly, whose vision - as originated by choreographer/director Michael Bennett - has achieved a kind of immortality.
Bob Avian, who assisted on the original staging back in 1975, is now the show's guardian and watching this timely London revival, imaginatively cast and wholeheartedly delivered, you realise that it isn't just nostalgia that faithfully reproduces it exactly as some of us remember from 1976 but the indisputable fact that as stagings go it's pretty damn perfect. You don't dare touch a hair on its well-groomed head; nips, tucks, and facelifts don't even bear thinking about.
There's no business either that celebrates the heartache like this business does
So we will always be - as it says above the blacked-out stage - in that time, 1975, and that place, a Broadway Theatre. And we'll always get the same buzz when the lights come up on a stage full of dancers in rehearsal clothes (circa 1970s) and the same jolt when the rehearsal piano bows out and the band kicks in. I know it was a first night, but I reckon the Palladium will explode every night when that happens. But there's something else, too. There's no business like show business, they still tell us, but no business either that celebrates the rejection, the humiliation, the heartache like this business does.
A Chorus Line is that weird thing: a bleak show that lifts the spirits of anyone who has ever yearned for their moment in the spotlight and even those of us who merely watch. And as the survivors of the first cull find their place behind that quite literal line on the stage between us and them, we stop thinking how convenient it is that all life is here - all shapes, sizes, and personalities - and simply buy into the whole joyously joyless experience.
The intricacy of the staging is breathtaking, the choreographic thrills many and varied - most notably the seemingly unstoppable crescendo of the Montage "Hello Twelve, Hello Thirteen", a classic of the modern day musical. Again and again we are taken in and out of the dancers' heads always to return to their place behind that line.
When Paul, the elegant gay boy with a woman's sensibility (the excellent Gary Wood) is injured at the very point of likely securing his place in the show the line reforms but, heartbreakingly, with a gap where he once stood. Like all great musicals, a few of Marvin Hamlisch and Edward Kleban's terrific point numbers would be inexplicable, even unremarkable, out of the context of the show - but there's one remarkable song, "At the Ballet", which is the essence of the show and encapsulates the need that so many performers have to escape reality. (Pictured below, James T Lane as Richie)
Ensemble is everything in A Chorus Line and this London cast deliver on so many levels. Of course, some characters will always stand out from the crowd: the tall, imperious, and super-laconic Sheila of Leigh Zimmerman, the feisty Diana of Victoria Hamilton-Barritt who pretty much nails the song about theatrical pretension, "Nothing", and Scarlet Strallen's terrifically committed and wonderfully danced Cassie, the featured dancer who never quite made stardom and whose failed affair with John Partridge's authoritative Zach, the director, almost deprives her of the job she so badly needs. No matter how many times you see it, when curved mirrors descend for her big (and how) showstopper "The Music and the Mirror", the multiplication of her fluid form in that iconic scarlet (how apt) dress will always set the pulse racing.
Towards the end of the show when one of the characters says ruefully "Nothing runs forever", you're thinking - wrong, A Chorus Line will.
- A Chorus Line at the London Palladium is currently booking until 13 July
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Revival of Sean O’Casey’s modern classic is relevant, but a bit sombre
The Tommy Steele musical gets a triumphant, banjo-rehabilitating refresh
Does the continuing story of JK Rowling's witches and wizards work its magic onstage?
A classic musical reborn for a contemporary audience
Neil LaBute's masochistic odyssey is sporadically thought-provoking
Off Broadway transfer illuminates Sondheim's fairy tales anew
Devised play about a film director's obsession almost loses the plot
A musical take on pulp noir is frustratingly uneven
An utterly compelling revival of Brian Friel's 'Faith Healer' leads theartsdesk's stage tips
Generation-bridging joy with the return of the mobster musical pastiche
Revival of Brian Friel’s 1979 classic is brilliantly acted and utterly compelling
The Northern Irish stage craftsman celebrated for Dancing at Lughnasa and Faith Healer