A Chorus Line (2024), Curve Leicester Review
Bradley Delarosbel (Gregory Gardner) in A Chorus Line. Photo by Marc BrennerWritten by Hollie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
Caution: This performance contains haze, loud music, strobe, discussion of bereavement, mention of physical violence and abuse as well as discussion of mental ill health, sexual abuse and discussions of discrimination and homophobia.
The spotlight shines on Curve’s revival of this classic concept musical before it heads off on a much anticipated tour around the U.K. over the coming months. A Chorus Line has been relentlessly promoted across the country recently, with performances on Britain’s Got Talent as well as popular daytime show This Morning. The anticipation from the jam-packed audience was electric as the show began.
Set in 1975, in the bright lights of New York City, the production opens in a theatre, with a stripped back and exposed stage. This open stage which commands the space at Curve, allowed the audience to feel as if they were in the show themselves and ensured that the focus was on the acting, singing and the environment. The ensemble are a cast of wannabe dancers and actors who have big hopes and ambitions to be the next big thing. Everybody wants to be a star.
The opening scene introduces each of the performers as they audition and show who they truly are by providing their background stories. The spotlight truly was on them and the ruthlessness and relentlessness of the theatre world, and as the performers were gradually eliminated, it felt very cut throat and raw. The audience is introduced to all of the performers in the line-up and as an audience member, you can quickly form an opinion or an affinity to the different characters.
The first candidate, Mike Costa, played by Redmand Rance, introduces himself and talks about his history in dance since he was a child. Rance’s portrayal of his character is splendid and I would have liked to have seen more of him throughout the show. Other performers such as Sheila and Maggie, played by Amy Thornton and Kate Parr, introduce themselves and talk about their insecurities and inhibitions that have brought them to this audition. Amy and Kate’s portrayal of their characters through the song ‘At The Ballet’ along with Lydia Bannister, who plays Bebe Benzenheimer, was outstanding and was one of my highlights of the production.
The ensemble's talent is undeniable; they are highly trained dancers and performers who truly excelled in both singing and dancing. Choreographer Ellen Kane skilfully blended contemporary dance with ballet, creating a seamless and expert fusion of the two styles. The whole cast absolutely acted their lycra leggings off and due to the very paired-back stage they really shone through and lit up the room.
Directed by Nikolai Foster, this production provides the audience with a lot of sparkle and razzle-dazzle, however, with the use of the handheld camera, the lighting and the levelling on the stage, this production felt very similar to Curve’s Christmas production of Evita. I enjoyed the use of the technology as it gave the show more of an intimate feel, but at times I was unable to distinguish the differences between the two musicals.
As the audition moves on and more of the dancers are eliminated we are introduced to the story of Cassie, played by Carly Mercedes Dyer, and her relationship with choreographer Zach, played by Adam Cooper. Carly’s rendition of ‘The Music and the Mirror’ was magical and I look forward to seeing what she does in theatres soon. The female cast in the show can act, sing and dance and are gifted triple threats which leaves the audience wanting more. Jocasta Almgill, who plays Diana, and Mireia Mambo, who plays Richie Walters, are equally as talented in portraying their characters.
It was refreshing to see such a diverse cast in the main roles, and they touched on a range of issues including homophobia, sexual predators and suicide which added to their character’s stories and backgrounds. The mirrors across the back wall of the stage meant that the characters had nowhere to escape and they spent time looking at their own reflections as well as their past history.
The production concludes with the showstopper ‘One’ which is a singular sensation. But is A Chorus Line as a whole a singular sensation? Is all that glitters gold? You will have to join the parade and find out for yourself. For me, A Chorus Line was a relentless representation of resilience, rehearsals and reality.
A Chorus Line continues at Curve until Saturday 13th July before it begins its UK tour where it will spend the summer at Sadler’s Wells before heading off to Birmingham and Edinburgh before concluding in High Wycombe in October.
★ ★ ★ ★
