As I was walking up the aisle at the end of Goodspeed Musicals’ A Chorus Line, a little girl–possibly six or seven—caught my eye. The joy and wonder on her face suggested that for the past two hours, she had felt herself to be in the presence of remarkable creatures. And in a she—and all of us—had been. Director Rob Ruggiero has created a nearly incandescent 50th anniversary celebration of A Chorus Line, which is itself a celebration of dance and life.
Famously, the script is based on a series of workshops, taped during 1974, in which a group of young New York performers talked about the impact of theater on their lives. Michael Bennett claimed the show as his conception (he certainly directed and choreographed the original), but over the years his total artistic control has been questioned. James Kirkwood and Nicholas Dante wrote the book, with the great Marvin Hamlisch composing the music and Edward Kleban providing the lyrics. The longest running show in Broadway history until Cats appeared in 1997, and the winner of the 1976 Pulitzer Prize for Drama, A Chorus Line was, and continues to be, “one singular sensation.”
The plot is deceptively simple: in an austere rehearsal hall, a group of performers audition for a few spots in the chorus of a spectacle: the chorus, as Zach tells them, “backs the star” with “perfectly unison dancing.” Because the chosen dancers and the director will be working so closely together, Zach demands that each hopeful tell him a personal story that he won’t find on a resume. And the stories are so fascinating, heart-breaking, and in some cases, hilarious, that we are honored to learn all we can about how these young people got to this stage.
Nearly every one of the performers here is deserving of praise, but there are, inevitably, several who stand out. Scarlett Walker, as Sheila, whose aggressive façade masks deep-rooted childhood pain, performs her signature song, “At the Ballet” beautifully, along with Lisa Finegold (Bebe) and Liesie Kelly (Maggie). Jonah Nash is electrifying as Ritchie; and Alex Drost (Al) with his tone-challenged wife Kristine (Haley Bjorn) are hilarious (“Sing”).
Some numbers are written as showstoppers, and here, the actors/singers who put them over are marvelous. Mikaela Secada, as Diana Morales, is instantly lovable as she sings about her struggles with improvisation class and a malicious teacher (“Nothing”). And her rendition of the central number, “What I Did For Love” is a beautiful example of a skilled singer/actor avoiding her own sentimentality so that the audience feels the emotion.
Another example of this skill comes from Diego Guevara as Paul, who has a wrenching monologue that could easily slide into self-pity. Guevara, however, simply recounts the facts of his childhood (though there is nothing simple about the acting mastery required)—and in doing so, he allows us to absorb every complex and heart-rending moment.
Karli Dinardo is Cassie, the dancer who begs Zach to take her back into the chorus after a long series of acting failures. She manages to bring toughness, vulnerability, and every other emotion her role requires. And her rendition of the tour de force dance number, “The Music and the Mirror,” could not be more passionate and precise.
Speaking of precision, which is the central quality of dance, Ruggiero directs precision into every possible moment, whether danced or not. For instance, when the auditioners hand their headshots to the assistant director, they land, one by one, on top of each other, creating a domino effect, as they reveal each actor’s real face.
“Hello Twelve, Hello Thirteen, Hello Love” is ostensibly an expression of adolescent chaos, but brilliant choreographers Parker Esse and Baayork Lee bring just enough order to the chaos that we perfectly understand the teenagers’ attempts to break free from their childhood and parents, while struggling to find out who they are. Music Director Adam Souza also works precisely with those onstage, never overwhelming their words with too much sound, but never letting the energy fade.
This cast, with only a few exceptions, is one of the most skillful and winning I’ve seen, outside of the Broadway original and revival. And their artistic guides—director, choreographers, and Music Director, as well as all the others working on the production—bring the show to its exhilarating finale. Thanks to the energy and commitment onstage, I feel that I know each one of these characters: and this feeling is the heart and soul of A Chorus Line.
A Chorus Line runs through November 2, 2025, at Goodspeed Musicals, 6 Main St., East Haddam, CT. For tickets and information, please call 860-873-8668 or visit Goodspeed.org.
