A Chorus Line – Festival Theatre, Edinburgh

A Chorus Line, originally performed in 1975, is one of the most successful musicals on all time. However, it’s reputation for highly technical choreography and of requiring a large cast of superb dancers, with equally big voices, make it one of those shows which the amateur companies tend to give an almighty body swerve, which actually makes it quite a rare beast. This fabulous touring production is a must see for all serious musos, in fact with only four Edinburgh performances it is very much a case of catch it while you can.

This classic Broadway hit follows harsh Director Zach (Adam Cooper) as he puts 17 hopefuls through their paces and baring their souls in the hope of being one of the chosen 8 for the chorus of a new musical. Highlighting the brutal reality of what it takes to get into the Chorus, never mind being a star, this was a revelation when it first opened because it unashamedly parodied and demystified the musical genre itself.

This anti-musical features a number of songs which are intentionally discordant, lyrics by Edward Kleban with barely a rhyming couplet to be found. The music by Marvin Hamlisch, played live, by a well hidden band, is quirky and certainly does not feel almost fifty years old. In fact it all sounds fresh and punchy.

Live video projection of our auditionees on to a long thin projection screen which hangs backstage also feels like a vibrant modern addition and gives the production a lively ‘live stream’ feel which matches well with the constant stream of barked orders from Zach. Five vertical mirrors also inhabit the back stage and cleverly, all of the dancers face towards these on various occasions, turning their backs to the audience in another face slap to the already red faced genre. It’s clever.

What is less clever is the sheer number of characters the audience is asked to remember and to empathise with. With no single protagonist, this ends up as a series of rather bitty anecdotes, which don’t hang together as a story with a beginning, middle and end, and feel intentionally anarchic. What we tend to focus on to help remember characters, are the particular traits or experiences.

There’s the gymnastic one, Redman Rance pulling off a particularly impressive flip as Mike Costa, there’s the one who sings about breasts and bottoms (but not quite so politely). There’s also the one who can’t sing, but who’s screeching attempts are certainly comedic. One of the more touching ones is Manuel Pacific in the role of Paul San Marco, who’s lengthy monologue on discovering his sexuality and his love of dancing, and his first professional job as a drag artist which leads to him being disowned by his parents, is beautifully acted and one of the most powerful and emotional moments in the entire show.

Special mention needs to go to the triple threat performance from Carly Mercedes Dyer as Cassie, who brings fabulous acting, dancing and an outstanding vocal performance in a beautifully conceived segment where she confronts Zach, her ex-boyfriend in ‘The Music and the Mirror’. The dance break perfectly captured by the array of angled mirrors which seem to follow her every movement across Grace Smart’s sparse but effective set.

The best song in the show is left late, Jocasta Almgill bringing the house down with the iconic ‘What I did for Love’.  

Despite all of the good stuff, it still feels disconnected. So instead we invest in the spectacle and the tight and lively dance routines from Ellen Kane and Bob Avian. With dazzling choreography and not a step out of place in the glitzy finale, ‘One’ (singular sensation), with pyros, confetti and sparkling costumes and the highest high kicks, the audience departs slightly confused but certainly not disappointed.

Reviewer: Greg Holstead

Reviewed: 24th September 2024

North West End UK Rating: 4

Running time – 1hr 50mins (with no interval)