am 3. Dezember 2005
My actual and painful experience with theatrical auditions has been from both sides of stage and only once involved an actual musical. Still, I can relate to the desperation and urgency that propels the characters in "A Chorus Line" towards their respective fates. Yes, I might be rather sick and tired of hearing "One," not to mention "One (Reprise)-Finale," but for me the songs I can hear over and over again from this Broadway musical have always been the ensemble numbers: "I Hope I Get It," "At the Ballet" and "Hello Twelve, Hello Thirteen, Hello Love." Not even "What I Did for Love" compares with those tracks as far as I am concerned.
What makes this musical works is that while it is about an ensemble, it is an ensemble of clearly defined characters. Even the "cute" songs, such as "I Can Do That" and "Sing!", are clearly character driven. I have always liked audition sequences in films (the openings of "All That Jazz" and "Fame" immediately spring to mind), and those moments when a person and a part become joined. Here the moment becomes a mixture of celebratory elation and funereal disappointment. In other words, exactly what it is like when you want to be a Broadway hoofer.
There are very few musicals that are actually about musicals, and given how successful "A Chorus Line" has been, there is little need for someone to try and come up with something new on the off chance it might be better. In a small collection of Broadway musicals, this is a necessary album to own. I have been listening to it again because I just discovered that Carole Bishop, who played Sheila and won the Tony award for Featured Actress in a Musical (While Donna McKechnie won for Leading Actress in a Musical), is now professionally known as Kelly Bishop and plays Emily on "Gilmore Girls."
am 4. Juli 2010
In its day, "A Chorus Line" was a sensation. By now, a few musicals have eclipsed it in longevity, but it is still the longest-running American musical in the history of Broadway. It also made Michael Bennett a legend, saved Joseph Papp's theater and introduced a new way of developing musicals. Yes, there were also actors involved, and they were not left out of the musical's Tony sweep in 1976, but two of the three winners (Kelly Bishop and Sammy Williams) hardly figure on this CD, and while Donna McKechnie is a solid singer, her real strength has always been dancing. Even Priscilla Lopez, who sings two of the best numbers - "Nothing" and "What I did for Love" -, is not particularly outstanding. In a way, this show is so ensembly that the material outshines the actual performers. Yes, there are a few numbers that fall flat - "Sing!" is one - but then there are wonderful songs like "At the Ballet" to even the score. In the days of reality television, it is hard to understand how revolutionary the confessional format of "A Chorus Line" was in the 1970s. It might be somewhat dated in that respect but its message regarding devotion to art and the struggle to win the war against anonymity remains au courant.
am 2. August 2004
Ich habe "A Chorus Line" zum ersten Mal in der Schule gehört, als wir eine Reportage über dieses Musical in Musik sahen und ich fand es auf Anhieb nicht schlecht. Jedoch muss ich dazu sagen, dass ich andere Musicals bevorzuge. Von der Musik her ist es nicht schlecht, auch die Story an sich ist gut und die Besetzung recht glücklich gewählt. Man kann es sich anhören/ansehen.