Review of ‘A Chorus Line’: “Singularly sensational”

The 1975 musical theatre icon returns to the London stage through Nikolai Foster’s touring revival, playing at the Sadler’s Wells until the end of the month. Guillermo Nazara shares his views on the show, to let us know if this new thrilling combination is worth being given the attention.

Gonorrhea, gonorrhea, gono— You get the picture – though probably it won’t be a pretty one… No, m’darlings, I haven’t gone crazy (I was more likely born that way): that’s actually what the almost prepubescent, aspiring Broadway performer sings (again and again – and AGAIN) when he approaches the audience to tell us about his uplifting (no pun intended) backstory. When you think you’ve seen it all (and chances are you’ve heard, watched, and -why not?- maybe made those lyrics yours one way or another…), there’s still some room left within yourself to allow the surprising touch of the unexpected in.

After experiencing a bunch of factory workers chanting with ulterior seriousness about the fact that they didn’t have syphilis (everyone who’s attended knows which one I’m talking about) – hearing more lines about the joys of the STD-world seems like nothing but the perfect opportunity to deliver the ultimate face palm. But if something is inherent to the essence of the theatre, is that everything about it (especially, the reactions it triggers) is unpredictable.

So… what is the verdict? Did it work? Is it a positive thing? Has the germ hatched within you?! Oh, mind your own business! But as for the tune, there’s no need to sugarcoat it. And pretty much in the style of the show’s golden-glittering finale, I shall make a similarly perceptive observation: it’s truly brilliant. Yet, anyone who’s acquainted with the piece itself is aware of that – you’re welcome to disagree, though (I shall pity you, but you’re welcome). However, the London scene (or anywhere else, in that regard) is certainly no stranger to appalling sacrileges able to transform untainted gems into deplorable embarrassments – forgetting the very reason why a classic got to be a classic in the first place.

Regardless of how many times we’ve seen that wishful spinning in front of the mirrors or the dry-iced ethereal sequences depicting dreams that may never come to be, one can’t deny that the enchantment from the Great White Way’s old style is still very much alive. Fortunately enough, its air still blows with gripping force in Nikolai Foster’s revival – paying an almost immaculate homage to one of the most revered standards in the Broadway repertoire.

Sharp, electrifying, and extremely seductive, the production preserves all of the values that define the meaning, importance, and, eventually, appeal of the ensemble-themed montage – creating a visually intoxicating showcase filled with impeccable numbers; all of them, boasting superb vocals and even more impressive dances, both executed with exceptional timing while also exuding slight hints freedom combined with inexhaustible flow.

Accompanied by possibly one of the most beautifully-sounding bands (if not the best) the London stage has in offer this summer, the pretended opulence of the production (at the end of the day, the action happens in a rehearsal space) is achieved through Ellen Kane’s exhilarating choreography, apart from Howard Hudson’s absolutely spotless (no pun intended) lighting design – weaving an intricate set of textures that, altogether, concoct a most captivating atmosphere that evenly blends its sometimes whimsical approach with a more grounded, coal-coated touch.

The only blemish in this version comes in the shape of a format which, admittedly, is transitioning from a burden into an unwanted threat in too many recent directional approaches. Despite Jamie Lloyd’s striking remake of Sunset Boulevard, the use of a live camera shouldn’t become an established tool in every single revival that comes to town – especially when, in this case, not only does not provide anything to the narrative, but also gets to be painfully distracting. Luckily enough, we only have to cope with it for just a few excerpts. And if this review finally has any effect (look at me being  an ambitious trouble-maker), they’ll get rid of it for good.

In a production where, probably more than ever, the core strength and success of the material depends solely on the renditions, it’s so genuinely refreshing to experience a cast flaunting such astounding levels of competence in every aspect of their delivery. With everyone fairly deserving of that final ovation, Archie Durrant manages to make a stand-out appearance in the role of Mark thanks to his charming comedic skills, while Redmand Rance also secures a mention through his charismatic interpretation as Mike. At the same time, Kate Parr makes one of the most memorable contributions through her uproarious performance as Maggie, while Manuel Pacific gives a most sincere, heartfelt portrayal of the broken yet resilient Paul.

A rousing whirlpool of emotion, beguilement, and utmost pizzazz, A Chorus Line rises to the top as one of the most exciting proposals to be taken by this season. Moving, enticing, simple, and sincere, the show keeps projecting its rejuvenating vibes despite standing only a few steps away from turning have a century. It’s a piece that just won’t get old – at least, not as long as theatre keeps standing as what its makers, and goers, do for love. So have no doubts, and do ask for a ticket – I hope you’ll get it.

All pictures credit to Marc Brenner.

A Chorus Line plays at London’s Sadler’s Wells until 25 August before resuming its national tour. Tickets and venues are available on the following link.

By Guillermo Nazara