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A Chorus Line" had the slimmest plot a musical had seen since "On the Town," but it had a hell of a great idea: 25 dancers desperately auditioning for eight jobs on the chorus line of a new musical. The passion of the piece came from director/choreographer Michael Bennett's desire to make these dancers represent the thousands upon thousands of gypsies over the years who sublimated their own careers to support the star. "A Chorus Line," like "Hair," was developed downtown at the Public Theater, and upon its transfer uptown in the fall of 1975, it caught the public's imagination. It went on to become Broadway's longest-running show in September 1983 and continued to run for another seven years. "A Chorus Line" won every prize the theater could offer, including the Pulitzer and nine Tonys, two of which went to Bennett. Marvin Hamlisch and Ed Kleban also won a Tony for their score, which skillfully blended a backbeat rock score with Broadway ballads.
The overwhelming success of the show is particularly impressive because "A Chorus Line" ran counter to most every convention the American musical had carefully built up over a century. It had no scenery beyond some mirrors, no real costumes save leotards and a few spangles for the finale; it had no setting other than a nondescript theater, no intermission, and no star. But the show captured the dreams of anyone who wanted -- needed -- to make it, to prove their worth, to put themselves, like the two dozen dancers, on the line.
A Chorus Line, one of the biggest hits in Broadway history and a landmark work of the musical comedy genre, will return to the Great White Way in 2006.
Opening will be Sept. 21, 2006.
A Chorus Line will be produced by the well known and well-connected entertainment lawyer John Breglio, who represented the musical's director-choreographer-conceiver Michael Bennett while he was alive and still handles his estate. Breglio's many theatre clients include Manhattan Theatre Club, The Public Theater, Stephen Sondheim and August Wilson.
Show Biography - A Chorus Line
Director/choreographer Michael Bennett had long wanted to do a show that put the spotlight on that class of performers known as "gypsies," not the stars, but the unknown dancers, the faceless artists that persevere in the chorus, suffering through the endless auditions and almost constant rejection that comes with a life in the Theatre. So in 1974, he rented a studio and invited 24 dancers to talk about their personal and professional lives. These sessions were recorded, written down, and eventually pieced into a libretto by playwright/novelist James Kirkwood and Nicholas Dante, one of Bennett's dancers. Academy-award winner Marvin Hamlisch was brought in to compose the music, and Edward Kleban wrote the lyrics. Bennett even brought in playwright Neil Simon who--although uncredited--added several of the great one-liners in the play.
A Chorus Line would revolutionize the way audiences view musical theatre. It broke away from the rigid story line of traditional musicals, instead weaving together the stories of the ensemble cast into a seamless whole. It broke new ground technically as well, becoming the first show on Broadway to use computers in the control booth.
A Chorus Line opened at Joseph Papp's Public Theatre on April 15, 1975. After an initial run of 101 performances, it moved to the Shubert Theatre where it would remain for almost fifteen years, breaking box office records and winning almost every possible award including 9 Tony Awards, 5 Drama Desk Awards, the Pulitzer Prize for Drama, the New York Drama Critics Circle Award, the Los Angeles Drama Critics Circle Award, the London Evening Standard Award, a special citation Obie Award, and even a Gold Record Award from Columbia Records. The show finally closed on April 28, 1990, after 6,137 performances. It has been produced in over twenty countries and continues to be popular around the world. The 1985 film version features Michael Douglas.
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Director/choreographer Michael Bennett had long wanted to do a show that put the spotlight on that class of performers known as "gypsies," not the stars, but the unknown dancers, the faceless artists that persevere in the chorus, suffering through the endless auditions and almost constant rejection that comes with a life in the Theatre. So in 1974, he rented a studio and invited 24 dancers to talk about their personal and professional lives. These sessions were recorded, written down, and eventually pieced into a libretto by playwright/novelist James Kirkwood and Nicholas Dante, one of Bennett's dancers. Academy-award winner Marvin Hamlisch was brought in to compose the music, and Edward Kleban wrote the lyrics. Bennett even brought in playwright Neil Simon who--although uncredited--added several of the great one-liners in the play.
