A
Chorus Line Cast
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Tony Fields |
Michelle Johnston |
Matt West |
Alyson Reed |
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Jan Gan Boyd |
Blane Savage |
Justin Ross |
Janet Jones |
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Nicole Fosse |
Pam Klinger |
Michael Blevins |
Charles McGowan |
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Yamil Borges |
Cameron English |
Gregg Burge |
Vicki Frederick |
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Audrey Landers |
Crew
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A
Chorus Line Crew
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A
Chorus Line Songs
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I
hope I get it
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The movie begins with the excitement of a Broadway audition. There is a load of dancing and sweat but it is almost ten minutes before a single note is sung. It vividly portrays the cutthroat environment that a Broadway dance audition can be. Unfortunately, that stark realism causes a heap of trouble when the performers begin to sing. The suspension of disbelief is all askew. The camera soars through the crowded audition and cleverly introduces the dancers who will carry the story. But, all the camerawork you'll see in the film is represented here. |
Who
am I anyway?
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The first solo is a mix of 'live' singing and prerecorded thought. Why they occasionally chose to show thoughts is unclear. This is a musical where the performers often open up to expose their inner thoughts. Many of the solos seem to be amateurish: broad, over-the-top with loads of mugging. This song is no exception. One depressing loss from the stage show, the presentation of headshots to orchestra hits has been replaced by a less exciting prospect. The performers jump out in groups from behind stage mirrors to those same orchestra hits. |
I
can do that
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Things are looking up here. A good, well-staged solo with some fun gymnastic choreography. Charles McGowan does an admirable job as Mike and the little duet with Richie can bring a smile to your face. But a strange thing happens. Mid song, we leave Mike singing this upbeat, high energy song to cut to Cassie reading her old address book (very, very low energy). After 30 seconds or so, we return to Mike for his big finish. I'd rather watch Mike dance than Cassie read. |
At
the ballet
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This number is presented in a very 'staged' manner. The performers are standing in a spotlight with only a black background. This is one of the prettier songs from the stage show and the recreation is suitable. |
Hello
twelve, hello thirteen, hello love
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Ahh, My favorite piece in the show. Hey what happened? This song is a musical montage that lasts for several exciting minutes! But here it has been reduced to 4 lines. It would have been more respectful to cut it. |
Surprise,
surprise
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Richie loses his on stage 'gimme the ball' and gains a new song written for the film. Unintentionally hysterical lyrics are excused only because the performer, Gregg Burge, is an exceptional dancer and emoter. But, never to be without strange choices, the solo becomes an erotic dance for the entire cast. |
Nothing
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Another nod to the stage production, the song is performed at one with the audience. With more pieces done in this manner, the film could have been a successful document of the stage production. Oh, well. |
Let
me dance for you
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The Music and the Mirror was replaced by this serviceable song. Alyson Reed (Cassie) sings and dances while Michael Douglas (Zack) acts and brings star power to the number... Oh, yeah, there are some strange flashbacks throughout this film and this number is no exception. |
Dance:
ten,
looks: three |
Audrey Landers is given this very witty number and sings, acts and looks the part. Done similar to the original staging, this piece works. |
One
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One is performed twice. The first time while the performers are learning the routine. This is handled pretty well here. When Zack shows Cassie the dancers and she sees how robotic they are. The lighting suggests a large 'connect four' game board with people going in and out of the circles of light. |
What
I did for love
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Once the highlight of the show, this song is now shortened and diminished in power. It is now performed by Cassie, reinforcing the Zach relationship storyline at a point that the viewer no longer cares. Actually, I don't think the audience ever did. |
One
(reprise)
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Ahh, the finale. This is very standard and works well, especially as the 'line' grows and grows. More and more dancers seem to appear out of the mirror. And so, A Chorus Line the musical kicks itself off into mediocrity. |
A
Chorus Line
From Stage to Screen |
A Chorus Line was destined to make a film appearance. Unfortunately, the transfer left a lot to be desired. On stage, A Chorus Line was originally performed without an intermission. It made a point of avoiding the creation of any 'leading roles.' It avoided standard musical theater stereotypes. Those concepts are lost on screen where the soap opera of Cassie and Zack becomes the thrust of the story. Many musical changes were made including the removal of the songs Hello Twelve, Hello Thirteen, Hello Love; Sing!; the replacement of the song Music and the Mirror with Let Me Dance for You and the creation of the song Surprise, Surprise for Richie (replacing Gimme the ball from Hello Twelve?) An annoying prospect for theater purists, replacing songs is common. No song written for a stage production can win a Academy Award. That is bad news to the filmmakers because they know the song works and has a life already. So, they replace a number in hopes that it will receive the attention on the other songs merits... or it might be confused with another song. The film spends some time backstage and in flashbacks which the stage production had no need to go. Finally, on stage the song "What I Did For Love" is performed by Morales but, in connection with her storyline with Zack, belongs to Cassie on film. This is a depressing film for those familiar with the stage show but as time goes on, more and more people will only know the film version. If I were one of those, maybe I would think of the film differently. |
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A
Chorus Line Store
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