“A Chorus Line”

[rating=5] When I saw the announcement that Porchlight was doing “A Chorus Line” on their new stage at Ruth Page, I thought “Can they do this huge dance production on the tiny stage at this venue?” Being a smaller venue in total than that which would host a production of “A Chorus Line” they even had to spread out the press nights, so many had viewed the play earlier this week. Tonight was our night! The opportunity to see this Award winning show, that has embraced the theater community since 1975 in the smallest venue I have ever had the opportunity to see it in. They did it!

Let me tell you, right up front, Director Brenda Didier and her staff, choreographer Christopher Chase Carter and musical director Linda Madonia, on this, one of the holiest weeks of the year, have produced a production that is “worthy of the Gods!”. “A Chorus Line”,conceived back in 1975 by Michael Bennett, with a book by James Kirkwood & Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, tells us the story that is probably one that every ensemble member in every theater has either felt or experienced in their careers. Bennett himself, dedicated the show to “anyone who has ever danced in a chorus or marched in step…anywhere”.

This production, smoothly directed by Didier keeps us glued to our seats for two hours, NO INTERMISSION, which allows us to truly concentrate on the characters, or should I say, dancers and their stories. An intermission would break the mood and with our world of cell phones, take many away from why they have come to the theater-to be entertained and to be taken away from their personal problems and situations for at least a few hours. This production accomplishes this to perfection.

Porchlight, a theater that is known for finding your raw talent and bringing Chicago audiences great musicals, once again has found some wonderful actors/dancers to bring this tale to us. Our set is an empty theater with a bare stage (pretty easy to accomplish for Kristen Martino, who did have to come up with the inventive use of mirrors). The costumes are pretty much dance attire (Robert S, Kuhn) and most of them appeared to be close to the original. Many audience members could recognize the characters by the closeness of the costumes to the original.

It is the actors/dancers who truly make this production as powerful as it is. These are real dancers taking the parts of real dancers and re-living their experiences, but from their own viewpoint as well as the words that were written back in the 1970’s ( many of these performers were not even born yet). The songs are all part of the story-telling experience, from the opening “I Hope I Get It” where we meet each of the dancers and little by little learn more about why they are there, why they became dancers and so on. They bare their souls to their Director Zach ( Richard Strimer is powerful and very realistic in this role), who himself has been in their position years earlier.

There are standout numbers during the audition, but many are a blend of music allowing us to see each of the characters and their ups and downs. “At The Ballet” is a stand- alone song, but as done by the three ladies in this production, Sheila ( Erica Evans), Maggie (Aalon Smith) and Bebe ( Liz Conway) you will feel chills up your spine. They are breathtaking to say the least. “Dance Ten: Looks Three” ( also known as “Tits and Ass” by many) is a dynamite number handled expertly by  Val/Natalie Welch). Two of the numbers are done by Diana ( an incredible Adrienne Velasco-Storrs) with a little help from the ensemble with “What I Did For Love”, which is right near the close of the show, when we hear the final ( and probably the best known song) “One”!

There are so many stories. Cassie ( (Laura Savage truly nails this role) is Zach’s ex, who has been away from the scene and now wants to come back. Despite Zach trying to turn her away, she feels that she is indeed a dancer and a dancer needs to dance. When she does “The Music and The Mirrors” one feels the pain in her past and the hope in her future, if Zach will allow it. I loved every member of this well oiled ensemble: Wade Tischhauser, Matthew Weidenbener, Drew Tanabe, Anya Strutz, Kaimana Neil, Jenna Napolitano, Chloe Nadon-Enriquez, John Marshall Jr., Grant Carriker, Terrell Armstong ( who brought new life to Richie with some great moves), Maggie Malaney, Taylor Lane, Luke Halperin, Alejandor Fonseca ( He does something spcial with Paul that brings a tear to the eye in his storytelling), La Mar Brown and Grant Carriker. I Hope I have them all! They are onstage for almost the entire time, dancing and singing their hearts out.

” A Chorus Line” has been extended until May 31st and tickets are selling fast. This is one that you will not want to miss. If you have ever dreamed of being a dancer or have a relative that is thinking this way, take them and see it in the very intimate space, up close and very personal at The Ruth Page Center For The Arts, located at 1016 N. Dearborn with performances as follows:

Thursdays  7:30 p.m.

Fridays  8 p.m.

Saturdays  2 p.m. and 8 p.m.

Sundays  2 p.m.4/21, 4/28, 5/5,5/12, 5/19 and 5/26

6 p.m. 5/26

also: May 1 and 29th  at 7:30 p.m.

        May 28th   7:30 p.m.

        May 1st and 29th  7:30 p.m.

        May 28th  7:30 p.m.

        May 9th  1:30 and 7:30 p.m.

open caption  4/20  and 5/4 at 4 p.m.

Tickets range from $39-$66 and can be ordered by calling 773-777-9884 or online at www.PorchlightMusicTheatre.org

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “A Chorus Line”