That, in a sense, is the permanent paradox of A Chorus Line: it hymns the individuals who are finally turned into figures of glittering anonymity. But the current cast bring their own personalities to the roles and, in addition to Strallen, there is striking work from Leigh Zimmerman as the sassy Sheila, Victoria Hamilton-Barritt as a would-be actor, and Gary Wood as the Puerto Rican boy who always longed to be Cyd Charisse. Bob Avian, the director, co-choreographed the 1975 production with Bennett and has reproduced it with loving fidelity. That is one of the few flaws in an excellent show that makes no claims to rework the original. The one moment when the show lapses is in the yearningly romantic What I Did for Love, which became a detachable hit, but seems out of sync with the situation. And Cassie, described as "too good for the chorus" by the director, expresses her desperation through whirling movement: Scarlett Strallen's sensational angst here brings to mind the manic edge that Lynn Seymour brought to Kenneth MacMillan's tormented heroines. As the sexually aggressive Sheila describes how the ballet offered her an escape from domestic conflict, others pick up the theme and float into an evocation of classical dance.
She was originally portrayed on Broadway by Donna McKechnie (who won a Best Actress Tony for the role) and is largely based. (Manuel Harlan) Cassie Ferguson is one of the auditioners in A Chorus Line who makes it past the initial cut. London revival portrayal by Scarlett Strallen. Marvin Hamlisch's numbers, with one exception, arise naturally from the stories being told. A Chorus Line - The Music and the Mirror - Charlotte d'Amboise. The other secret of the show's success lies in its fluidity of form. It reminds me of Arnold Wesker's Chips With Everything where, however much we may resent it, we still choke with emotion at the sight of a group of raw RAF servicemen being transformed into a perfectly drilled ensemble. But in the famous final number, One, we rejoice at seeing the dancers perform in glorious unison. Stream songs including 'Les choristes', 'In mmoriam' and more. As the director whittles a group of auditioning hopefuls down to a final eight, we hear the dancers' confessions: we learn about their broken homes, aspirations to stardom, fear of failure and, in the touching case of a Puerto Rican guy, his shame at being found by his parents dancing in a drag revue. Listen to The Chorus (Original Motion Picture Soundtrack) by Bruno Coulais on Apple Music. Clearly the show was intended to make us aware of the individuality of the regimented hoofers who form the backdrop of any musical. Part of the magic of Michael Bennett's original concept lies in its ambivalence.
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And even if TV has since bombarded us with backstage dramas about the anguish of auditions, this musical stands up strongly to revival.
Maybe not but this show, which started its life at the Public theatre in New York in 1975, enjoyed a record-breaking 15-year spell on Broadway. "N othing runs for ever," says a character in A Chorus Line.
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