Michael Bennet’s masterpiece, A Chorus Line, revolutionised Broadway when it opened in 1975. Beginning with 17 hopefuls, all auditioning for a coveted spot in a chorus line, the dancers are gradually whittled down to eight, but not before opening up (albeit rather reluctantly) to the show’s director, Zack, and the audience, about how they got there. Based on stories told by real Broadway dancers, each full of wit, humour and honesty, the show delves into the thrills and disappointments of a career in the performing arts. With 17 named characters, this show is an ensemble piece at its finest, but one in which everyone gets their moment in the limelight, with all eyes on them – that is, until the iconic finale… 

This Curve production, in collaboration with Jonathan Church Theatre Productions and Sadler’s Wells, is buzzing with freshness and energy. Director Nikolai Foster makes excellent use of the huge open stage at the Curve Theatre to add a realism to the show, making the performance feel almost immersive, but also to allow room for the large cast to take on the fabulously elaborate dance routines. Ellen Kane’s choreography is sublime, with spellbinding solo routines, contrasting with punchy and dynamic group numbers. Particularly impressive is the attention to detail at the start, as the dancers learn the routine, each with their own quirks and the occasional misstep, before coming together in perfect synchronisation for the most spectacular finale, ‘One’, complete with stunning lighting effects, pyrotechnics and – So. Much. Sparkle.  

Adam Cooper runs the show as Zach, the director, giving both a commanding presence and a sensitivity in encouraging the auditionees to tell their stories. And the chemistry between Cooper and Carly Mercedes Dyer (Cassie) is electric as the lines blur between personal and professional. Dyer’s Cassie is feisty and dignified, with a beautifully choreographed solo in ‘The Music and the Mirror’ which is mesmerising in its strength and emotion, not to mention fantastic vocals.  

This show certainly isn’t short of classic Musical Theatre numbers, the first being ‘At the Ballet’, a stunning performance by Amy Thorton (Sheila), Lydia Bannister (Bebe) and Kate Parr (Maggie). Jocasta Almgill’s (Diana Morales) rendition of ‘Nothing’, in which she recounts her acting classes with Mr Karp, is similarly impressive, with a brilliant mix of comedy and sentiment, and her lovely voice is shown off again in the emotive ‘What I Did For Love’, where the rest of the cast join her in spine-tingling harmony.  

There are also some brilliantly funny moments, most notably ‘Sing!’, a fabulously well-timed duet by Joshua Lay (Al) and Katie Lee (Kristine); Lee does a great job of singing terribly, and her energy raises the roof (indeed, she almost hits it at the end as she is thrown onto Lay’s shoulders!). And Chloe Saunders (Val) absolutely delivers in ‘Dance: Ten; Looks: Three’ as she explains that talent isn’t everything when it comes to showbiz. Redmond Rance (Mike) also delights with ‘I Can Do That’, showing off his ‘twinkle toes’ in a brilliant solo dance which kickstarts the auditionee stories.  

For me, the most remarkable performance of the evening comes from Manuel Pacific as Paul San Marco. The story of his troubled past provides a rare moment of quiet, and you’d hear a pin drop as he tells it with such sensitivity and emotion; a very natural performance, and utterly captivating. 

The lighting design by Howard Hudson is really quite special; carefully placed spotlights, and a softness for some of the quieter moments contrast with a truly dazzling display at the end. And Tom Marshall’s sound design is equally effective, complete with sound effects of a busy NYC as auditionees are rejected and leave the theatre through the door stage right – a genius touch.  

This production is quite flawless; an absolute total triumph and definitely not one to miss.  

Photos credit: Marc Brenner