Curve, Leicester
7th December, 2021
‘I hope I get it…’
In recent years Curve have really
hit their stride producing guaranteed Christmas hits – from the luxuriously
festive White Christmas in 2018 (currently
touring the UK), to their note perfect revival of West Side Story in 2019. Their latest offering, A Chorus Line, is a solid and
technically dazzling addition to the oeuvre.
The first question posed when
rumours of a new staging of A Chorus Line
begin to circulate is inevitably ‘Is the stage big enough to hold the eponymous
line?’. This is never an issue for Curve, as the vast stage frames the ensemble
beautifully, feeling neither cramped nor sparse. One could say this is the
perfect venue. Utilising the theatre’s technical prowess to optimum effect,
Howard Hudson’s lighting is truly spectacular, bringing scenic pizzazz to the
minimal set. The technical aspects of Nikolai Foster’s production remain a big
selling point. For example, the use of a handheld camera throughout is a nice
touch. These projections provide a deeper insight into the emotional nuances of
the normally ‘faceless’ ensemble figures and create an intimacy that could
otherwise be lost in such a huge space.
Yet this is not merely a technical
gimmick: Foster uses the close-ups to home in on the thematic relevancies of Marvin
Hamlisch and Edward Kleban’s 1975 musical, relating them to a new, contemporary
audience. The sometimes invasive camera angles enhance the sense that Foster’s
production sees the musical almost as a prototype for the talent shows that
have ruled pop-culture for the past couple of decades. Director Zach’s (Adam
Cooper) continual insistence that the dancers tell him the ‘truth’ and dig down
to unleash their feelings is reminiscent of the exploitative nature of Simon
Cowell and co.’s entertainment tv shows; shoving a camera lens into the faces
of emotional hopefuls in an attempt to manufacture sympathy. This was our first
time seeing this classic and it’s easy to see why those in the industry hold
the piece in such high regard. I do think a weakness to James Kirkwood Jr. and
Nicolas Dante’s book is that it can be a little navel-gazing. I prefer the
subtler poignancy and psychological depth of Sondheim’s Follies as an insight into the workings of the showbiz ensemble.
However, the company’s dedicated characterisation work and Foster’s masterful
direction ensures each auditionee is believable to the core.
For me, where A Chorus Line really excels is in the comedic moments. I loved the
self-deprecating nature of numbers like ‘Sing!’ and ‘Dance: Ten; Looks: Three’,
both numbers played with relish by an endearingly excitable Katie Lee
(Kristine) and hilariously gutsy Chloe Saunders (Val). Similarly, ‘Hello
Twelve, Hello Thirteen, Hello Love’, which recounts episodes of the
excruciating embarrassment we all experience as teenagers, and the yearning
feeling of those in-between years betwixt childhood and adulthood, strikes a
wonderful balance between being very funny and capturing the pathos of the loss
of innocence. This number is also a fine example of how the piece is a true
showcase for the ensemble. Every cast member gets their moment in the spotlight.
The final grand number is a fabulous juxtaposition, leaving the audience torn
between being awe-struck by the gold-clad spectacle and mourning the loss of
the individuality of the characters we’ve spent the last couple of hours
getting to know.
Foster’s production is topped off
by Ellen Kane’s sublime choreography. The dance routines are the kind that
leave those who can dance wanting to learn the numbers, and those who can’t
dance wishing they could. In all, A
Chorus Line is a great example of triple threat theatre. The stamina of
those involved in the show is outstanding and the affection the cast and
creatives have is palpable. There were many moments that left me with a huge
grin on my face and a thrill in my heart to be back at the theatre.
A
Chorus Line plays at Curve, Leicester until 31st December 2021.
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| The cast of A Chorus Line. Photography by Marc Brenner |
