“A Chorus Line” at Goodspeed Musicals by Zander Opper

“A Chorus Line”

Goodspeed Musicals

There is definite excitement in the air at the current, exhilarating revival of “A Chorus Line” at Goodspeed Musicals.  This show (which was originally conceived, directed, and choreographed by Michael Bennett, with co-choreography by Bob Avian) is very much modeled on the original staging of this musical, but there is such a vitality to this production that it feels newly minted and freshly inspired.  Under Rob Ruggiero’s brilliant direction, this show plays like one highlight after another and there is also an energy onstage that is positively electric.

Thanks to the choreography by Parker Esse, with an assist from original Broadway cast member Baayork Lee, the glorious, triple threat performers have been drilled to the point where every step, every kick, every moment is sheer perfection.  What sets this production apart is that, instead of simply being a replica of original, this “A Chorus Line” feels like it is being presented in real time, as if this were a new show, as opposed to being a revival.  Indeed, even being extremely familiar with “A Chorus Line,” the sense of surprise and discovery is very apparent.  “A Chorus Line” at Goodspeed Musicals is an emotional knockout, filled with wonder, tension, and sheer theatricality.

First presented in 1975, with a score by Marvin Hamlisch and Edward Kleban and a book by James Kirkwood and Nicholas Dante, “A Chorus Line” has long been a classic in the pantheon of Broadway musicals and it held the record of being the longest running show on Broadway for quite a long time.  What sets this staging apart from other productions I have seen is that it is most definitely not a museum piece.  Instead, this show positively crackles like a live wire.

Of course, without a good cast, this show would never land as well as it does here.  This company is fabulous both individually and as a group and all the main roles have been cast impeccably.  If there is one character in “A Chorus Line” who always stands out, it would be Cassie, who is fighting to get a second chance.  Karli DiNardo is everything and more that you could ask for in this part and her singing and dancing of “The Music and the Mirror” is so thrilling and moving that it elicited applause and screams at the performance I attended, even before the number was over.

This sense of spontaneity and fire onstage is apparent with every performer in the musical.  Scarlett Walker, as Sheila, gets all the laughs out of her part, though she can also make one cry performing the heart-tugging “At the Ballet” alongside Lisa Finegold as Bebe and Liesie Kelly as Maggie, who are equally wonderful.  Beatrice Howell is a riot as Val, putting over “Dance Ten, Looks Three” sensationally.  Also, Mikaela Secada is a real standout as Diana, with her renditions of “Nothing” and, especially, “What I Did For Love” being awesome.

This is not to say that the men in the company don’t also shine.  Indeed, Clifton Samuels is terrific as the director/choreographer Zach, who is holding the auditions.  This actor’s performance is firm, almost like a drill sergeant, but there is also a vulnerability in his scenes with Karlie DiNardo’s Cassie.  Mario Rizzi is a delightful Mike, who scores highly with the first solo number, “I Can Do That.”  And then there is the character of Paul, who is the only one in the show who gets a lengthy dramatic monologue.  Talking about his past and his school and family life, the touching Diego Guevara elicits plenty of tears, but he somehow finds some small laughs, too, without ever compromising the integrity of his character.

Scenic designer Ann Beyersdorfer’s bare stage is just perfect for this show, with the use of mirrors upstage, which reflect both the dancers and the audience, only adding to the magic of this production.  Joseph Shrope’s ideal costume design is reminiscent of the original, with the gold costumes originally designed by Theoni Aldredge provided for the show stopping finale.  John Lasiter’s lighting design is fantastic and the excellent offstage orchestra, led by the expert music director Adam Souza, is truly out of this world.  Also, Jay Hilton’s sound design is crystal clear.          

The fact that “A Chorus Line” is a great musical is not a surprise.  What is revelatory about this current production is that, even with a show this famous and frequently staged, it manages to capture more than a modicum of just how revolutionary this musical must have been when it first premiered and it feels gloriously alive from start to finish.  “A Chorus Line” at Goodspeed Musicals was just extended and it is most strongly recommended to try to grab a ticket while you can.

“A Chorus Line” runs through November 2, 2025, at Goodspeed Musicals, 6 Main St., East Haddam, CT. For tickets and information, please call 860-873-8668 or visit Goodspeed.org.