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All Musicals Are Adaptations: One of the few aversions: the story and songs were completely new.Adaptation Expansion: "Nothing" was originally a part of "Hello Twelve, Hello Thirteen".Adaptation Dye-Job: At least three characters who are usually played by brunettes or redheads became bleached blondes in the film.After one of them faces a possible career-ending injury, everyone confronts the question: what does it mean to them? In the end, eight are chosen.Ĭonnie: I'd settle for just one of yours. Ranging from hilarious to heartbreaking, they tell their stories one by one.
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However, once they're down to seventeen, Zach makes a surprising request: he asks the dancers to tell their names, ages, and a little bit of their Backstory - where they come from and why they dance. They do their best to impress the director, Zach, and hope they get the job. In this musical, the lives of many dancers converge on stage as they audition for a big musical. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and tape-recorded what was said. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line, later joined by choreographer Michael Bennett. 4 (gates open at 6:30 p.m.In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers James Kirkwood, Jr. Even having seen “A Chorus Line” three or four times since it was last produced at Moonlight in 1992, that finale still give me butterflies. It seems a cruel bargain until the entire cast, dressed in glittery gold tuxes and top hats, struts onstage for the finale. One of show’s main and still-relevant themes is how much these dancers will sacrifice for the opportunity to perform. While the musical digs deep to explore the personalities of each dancer, the irony of the story is that those who get cast must subvert their unique personalities to become part of the anonymously uniform “One” kickline at the end. And reprising their Welk roles as the vain Greg, overconfident Mike and tone-deaf Kristine, respectively, are Trevor Rex, Jeffrey Scott Parsons and Danielle Airey, who are all excellent dancers and fun to watch. The Moonlight stage is also much wider and deeper, and the highly detailed, multi-cued lighting design by Jennifer Edwards is more impressive.Īmong the cast’s standouts are the hilarious Natalie Nucci as the aging and wisecracking dancer Sheila Holly Echsner as Val, the resourceful dancer who bought breast implants to boost her luck at auditions Donny Gersonde as the flamboyant and talkative Bobby Milan Magana, in a sensitive performance as Diana, the Puerto Rican from the Bronx who sings two of the show’s best songs, “Nothing” and “What I Did for Love” the fierce Tyler Matthew Burk as the director Zach Jennifer Knox as Cassie, who is Zach’s ex, an out-of-work leading lady who’s desperate for a role in the chorus and Steven Ruvalcaba as Paul, the tender-hearted and ailing dancer who risks his health to dance. These seasoned performers are among the highlights of the show at Moonlight, which is far superior, because it has a live orchestra versus the Welk’s pre-recorded score. Guerrero and Rudolph collaborated early last year on a production of “A Chorus Line” at the Welk Resort Theatre in Escondido, and Guerrero rehired about half of that cast for the Moonlight show. And thanks to the cast’s impeccable dancing and beautiful vocal harmonies, which were coached by conductor and music director Randi Rudolph, the show flow seamlessly through its two hours, 20 minutes, including intermission. That might sound like a dull setup, but the catchy and cleverly worded songs by Marvin Hamlisch and Edward Kleban are beautifully interwoven with the book by James Kirkwood and Nicholas Dante.
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While the authoritarian director Zach gradually whittles down the hopefuls from 24 to 17 to eight, he asks questions about their lives, and they take turns telling their stories via inner and outer monologues, songs and dance. Based on recorded interviews show creator-choreographer Michael Bennett conducted with real Broadway dancers in 1974, the Pulitzer Prize- and Tony Award-winning “A Chorus Line” takes place during the final day of auditions for chorus dancer roles in a new musical.