Some musicals are celebrated for being unconventional and, since it first played on Broadway almost 50 years ago, A Chorus Line has always been considered ground-breaking in that sense. Nikolai Foster's latest iteration of the show is a mixed bag; flawless when good but a bit of a drag when it's not.
Touring following a successful run at the Leicester Curve, this is a stripped-back, no-frills version of the classic musical. Telling 17 individual stories from a 1970s Broadway chorus line, there is no real plot narrative or leading performer - and that's fine. There is so much talent in the company that individuals get their moment to shine.
Carly Mercedes Dyer, for instance, gives a spine-tingling moment with ‘The Music and the Mirror', throwing herself around Sadler's Wells' vast stage. She is no stranger to this style of storytelling, having impressed in last summer's Assassins revival in Chichester.
That moment immediately follows another standout juncture of the piece, with Chloe Saunders completely owning the stage with her rendition of ‘Dance: Ten; Looks: Three'. And that is the thing about this production; there are so many wonderful moments and none more so than the company's stunning finale.
However, the show's highs render its lows all the more frustrating. There are some scenes that really drag, momentum building before being snatched away. Foster's decision to use live video projections of the cast proves an irritating distraction, for example. It's a glib comparison to draw upon but the recent Sunset Boulevard revival has set the bar high on that score, leaving Foster's nominal use here looking inferior and inconsistent.
Another continuously jarring choice was for Zach (played by Adam Cooper) to sound so loud and intimidating when talking to the company off-stage. The character's godlike authority seemed somewhat undermined by his more mild-mannered appearances on-stage. Meanwhile, the montage scenes and the way they bend the score to their will is always likely to feel a tad sluggish.
But when the company combined to dance as one, Ellen Kane's choreography was utterly electrifying. The opener ‘I Hope I Get It' set the bar high but, as will come as no surprise, it is the finale where the company finally comes together to perform ‘One' that is worth the ticket price alone. It is a thrilling performance, staged so brilliantly with Grace Smart's set design merging into Howard Hudson's lighting to produce something truly spectacular. The result will live long in the audience's memory, for sure.
Despite the show's flaws, the cast is pretty much faultless. Jocosta Almgill leads ‘What I Did For Love' so beautifully as Diana, while Manuel Pacific delivers an emotional masterclass with his character Paul's monologue. The stories do not always blend together with ease but it is worth remembering these are 17 real-life testimonies from creator Michael Bennett's late-night recording sessions with dancers. The authenticity of the piece shines through.
Although its pacing can frustrate at times, A Chorus Line is an exhilarating theatrical experience. It isn't the easiest of watches, especially as a single act coming in at just shy of two hours, but at its best Foster's production produces some incredible moments that will be seared into the audience's memories for a lifetime.
It runs until 25 August. Tickets: here.
Review: Tom Ambrose Photos: Marc Brenner