at Gateway Playhouse
Long Island Advance
Tara Smith
The Gateway Playhouse opened their 2018 season with A Chorus Line Friday, the hit that Michael Bennett brought to The Great White Way in 1975. It follows a group of performers, both green and seasoned, at “the audition of a lifetime,” celebrating the glitz and grind of making it in showbiz.
It’s no wonder why the musical held the record as the longest running show on Broadway for 15 years and has won nine Tony Awards, including Best Musical, Best Director and Best Choreographer, along with a Pulitzer Prize for Drama.
Broadway really does come to Bellport with stage veteran Mitzi Hamilton in the driver’s seat as director. The Michael Bennett protégé has worked with the director-choreographer first on Seesaw before taking part in taped sessions with Bennett based on the actual lives of working dancers that eventually became the basis for A Chorus Line.
Hamilton inspired and originated the role of Val—played hilariously in this production by Amanda Miller—and has since staged numerous A Chorus Line productions nationwide with the original direction and choreography created by her mentor. The show is deceptively powerful. At first, the lights come up and we see a crowded stage with a sparse set: either a black backdrop or a panel of mirrors reflecting a Broadway rehearsal room. Dozens of dancers in simple, colorful attire review their footwork at an audition led by their director, Zach (Victor Wisehart).
Yes, they can all dance. The sparse stage allows the actors to showcase their talents with Hamilton’s restaging of the original choreography. But who cares? What really matters is their stories. In his stunning Gateway review, Wisehart is more often heard than seen, tapping the psyches of 17 hopefuls with questions like “Why did you start dancing?”
And so each performer breaks away from the line, telling stories of their past, their families. Mike (Mike D’Amico) is a joy to watch leaping across the stage in “I Can Do That,” and Bobby (Kyle White) mixes dry humor and wit in his monologue, “And...”, briefly stepping out of the action as Richie (Michael Canada), Val (Amanda Miller) and Judy (Danielle Burdick) deliberate what they’ll reply.
“At the Ballet,” performed by Sheila (Kate Loprest), Bebe (Erika Conway) and Maggie (Jackie Raye) is a heart wrenching reminder of why we turn to art. Loprest captures Sheila’s strength and struggles elegantly and delivers her wisecracks with gusto.
As Diana, Alexandra Fassler-Barrus shows true talent in show stopping moments during “Nothing,” and the iconic number “What I Did For Love.” The infamous “Dance: Ten; Looks: Three,” is a brazen, sassy number that Miller nails with her charm. As Cassie, Sabrina Harper is convincing and portrays the out-of-work star during her unforgettable rendition of “The Music and the Mirror.”
One of the show’s most revealing, delicate moments was delivered by Eddie Gutierrez as Paul, a gay Puerto Rican. The monologue deals with struggle, identity and belonging and Gutierrez captured the entire audience with grace.
Portraying a married couple, Julia Lynn Sammon as Kristine and Nick Varricchio as Al are sweet and entertaining during “Sing!” Sammon’s shrieks and squeals are matched perfectly by Varricchio’s impressive vocals.
Individuals shine in their monologues paired with moody lighting, but the most thrilling numbers involve the entire company in “Hello Twelve, Hello Thirteen, Hello Love,” and “One,” reprised brilliantly at the show’s finale.
A Chorus Line is not to be missed. The cast is sensational, getting at the heart of what it takes to make it on Broadway. By the end of the two-hour performance, you’re rooting for all of them to get the job—but Zach still has a job to do. Who makes the cut?
Go find out at the Gateway.
Smithtown Matters
Jeb Ladouceur
When seventeen desperate-for-work dancers make the first audition cut for an upcoming Broadway musical, the Director and his Choreographer inform the survivors that they’re looking for a chorus line of (oh dear!) only eight members … four boys and four girls. “Tell me about yourselves,” says ‘Director Zach’ … and that’s how he and ‘Larry’ (his Choreographer) will determine who stays, and who is summarily excused.
The hopefuls aren’t nuts about this unusual method of measuring talent but what’s a hoofer to do when at the end of his or her rope? Five – six – seven – eight… If you’re a professional dance aspirant, you don’t tell Directors and Choreographers how to gauge ability … not if you expect to stick around long on stage, you don’t. So, one by one, the candidates start to reveal even intimate details about their lives, invariably beginning with their earliest dance experiences.
After the first two young men have fessed up to what can only be termed confidential childhood information, the other contestants begin seriously to wonder whether agreeing to this strange audition technique was a good idea after all. I mean, how much should the performers tell these guys? To say that the odd process makes one uncomfortable is an understatement. But, what the hey … that’s show business, right? Five – six – seven- eight…
I’ve always thought this story-line device is more than a bit thin. After all, if it’s truly required, there are ways to extract an individual’s innermost feelings apart from flat-out demanding to know chapter and verse about one’s life story. Accordingly, it’s this critic’s view that one should approach The Gateway’s snazzy production of ‘A Chorus Line’ with total disregard for the contrived ‘personal revelation’ premise right from the outset. Because it really doesn’t matter, folks. There’s plenty of glitz in this production to bring the show gloriously across the finish line without all the unnecessary psychological nonsense.
How successful was ‘A Chorus Line’ after it opened at New York’s Shubert Theatre in 1975? Well, not only was the boffo musical nominated for a dozen Tony awards (winning nine), but Broadway theatergoers kept the Marvin Hamlisch show in demand on The Great White Way for more than six thousand performances. It became the longest-running production in The Big Apple’s history until surpassed by the iconic ‘Cats’ in 1997. Indeed, ‘A Chorus Line’ remains the 6th longest-running show ever to light up Broadway!
Many theater patrons assume that this musical is a takeoff on the familiar theme wherein a stageful of eager young performers dance their hearts out in pursuit of that one big break that will bring them fame and fortune. Not entirely. ‘A Chorus Line’ is largely about veteran hoofers who are approaching the culmination of their careers and are desperate to achieve one more success while they still possess the necessary terpsichorean tools. It’s this novel twist on an otherwise everyday stratagem that saves the James Kirkwood Jr. – Nicholas Dante book from mediocrity. Though it must be acknowledged that in 1976 Kirkwood and Dante did, in fact, win both the Tony and Drama Desk awards for Best Book of a Musical. Go figure.
One thing is a lead pipe cinch, however: when regional theaters like The Gateway, Theatre Three, and The Engeman want to send audiences home tapping their toes and humming a familiar refrain, they can’t go wrong treating them to ‘A Chorus Line,’ or any other Marvin Hamlisch production. Long a favorite of the great Barbra Streisand, Hamlisch (who died at 68) was one of but 12 people to win Emmy, Grammy, Oscar, and Tony awards. What’s more, only Richard Rogers joins him in having added a Pulitzer Prize to that impressive lineup.
The Gateway never disappoints … never! Whether the show they’ve mounted is performed at the sumptuous Patchogue Theater, or the ultra-comfortable playhouse in Bellport. And that’s true of the current offering at the latter venue. It’s hard to imagine a more impressive production than the ‘…Chorus Line’ being staged there thru May 26. The single hope from this quarter is that readers will take advantage of the unforgettable experience that awaits them there.
The Theatre Guide
Kristen Weyer
Gateway Playhouse has opened its 2018 season with A Chorus Line, directed and choreographed by Mitzi Hamilton. This classic favorite with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood and Nicholas Dante, first opened in 1975. It received immediate acclaim, and has won nine Tony awards, the Pulitzer Prize for Drama, seven Drama Desk awards, the New York Critics’ Circle award and the Olivier Award. It became the longest running show in Broadway history, until 1997 when it was exceeded by Cats. With drama and humor, poignant emotion and enjoyable dance numbers, there is something for everyone, keeping generations of audiences coming back for more.
A Chorus Line is exactly what it sounds like. It is 1975 and seventeen hopeful dancers are at an audition on an empty Broadway stage. Why? ‘Cause God they really need this job. But as it turns out, ‘How’, is the real question. How did they all come to be here? How did they begin dancing in the first place? How did this become their life? Through the grueling physical and emotional audition process, we are given glimpses into these dancers’ pasts and how they became who they are.
Every member of this talented cast brings their own unique flair to their character. These are challenging roles requiring fully developed characterization, with frequent subtly and nuance of manner. Much of the action in this show is performed while standing in a line on the stage with minimal to no set. As the show takes place on a theater stage much embellishment is unneccesary, though the rotating mirror panels are a nice touch.
Beautiful voices, fun dancing and true believable emotion come from every angle. The characters run the personality gambit from the snooty Sheila (Kate Loprest) to the adorable Judy (Danielle Burdick), the young Mark (David Grindrod), and the short but feisty Connie (Tiffany Chalothorn). Some of the most memorable moments include the emotional chemistry between Victor Wisehart as Zach and Sabrina Harper as Cassie, the impressive range of Michael Canada as Richie, and the humorous duet of “Sing!” with Julia Lynn Sammon and Nick Varricchio as Kristine and Al. The rest of this impressive cast consists of: Larry (Matthew J. Kilgore), Don (Lance E. Hayes), Maggie (Jackie Raye), Mike (Mike D’Amico), Greg (Robb Gibbs), Bobby (Kyle White), Bebe (Erika Conaway), Val (Amanda Miller), Paul (Eddie Gutierrez), Diana (Alexandra Fassler-Barrus), Tricia (Monica Cioffi), Victoria (Cait Crowley), Roy (Nick Raynor), Frank (Nicholas Steven King), Tom (Craig First), and Lois (Diana Princi).
An entertaining evening of classic musical theater, A Chorus Line is a pleasurable start to Gateway’s new season. And I fore warn you, it will be nearly impossible to stop humming that Broadway favorite “One Singular Sensation”.
Newsday
Barbara Schuler
No matter how often you see Michael Bennett's brilliant "A Chorus Line," something new always presents itself.
In the fine production now at The Gateway in Bellport, it's a line Paul (a poignant Eddie Gutierrez) says as he painfully recollects his early days as a dancer, forced to perform as a girl because he was so small.
"There are a lot of people in this world," he says, "who don't know how to be men."
Whoa! I've seen the show at least 10 times, but never before did that one jump out at me.
Which only speaks to the power of this Pulitzer- and Tony-winning piece, created in the mid-'70s from Bennett's taped conversations with Broadway dancers. One of them, Mitzi Hamilton (one of the inspirations for Val), directs, or as the program notes, restages this production. Not surprisingly, she has gathered a uniformly wonderful cast, led by Sabrina Harper, who gives us a wrenching Cassie, dancing her heart out in "The Music and the Mirror."
So if it's been awhile, give this show another shot. There's always something more to discover.
Dan's Papers
Genevieve Horsburgh
The Gateway returns for the summer season with the Broadway hit, A Chorus Line. A musical homage to all performers who have worked on a chorus line or gone through the rigors of the audition process, A Chorus Line takes us along for the ride with all the singing and dancing you missed throughout the winter.
The Gateway once again brings Broadway expertise to Long Island in the form of Broadway legend Mitzi Hamilton, at the helm of this production as Director/Choreographer. Hamilton, who was the original inspiration for the character of Val, worked with Tony Award winning choreographer Michael Bennett, who won a Tony for his work on A Chorus Line. Who better to hand over the dancing torch to than this outstanding group of performers? The Broadway polish and pizazz are in every scene, every dance number, every dramatic pause or tongue-in-cheek comment. The caliber of the cast is awe-inspiring—working together flawlessly, each individual lending his or her own flavor to the dances. The singing and dancing may be what will draw you in, but the compelling stories each cast member has will be what keeps you enthralled.
Marvin Hamlisch’s score for A Chorus Line is infectious—you’ll be humming the songs long after you’ve left the theater. In the first scene we can feel the desperation from the cast—voicing their anxiety over this audition and how desperately they need this job—as they perform “I Hope I Get It.” The audition is led by Zach, played by Victor Wisehart, and for much of the show he’s simply a voice asking our hopefuls some deeply personal questions. We realize quickly that there is some unresolved “business” between Zach and Cassie, played by Sabrina Harper. Harper performs a solo after intermission, “The Music and the Mirror,” which was so poignantly beautiful, Harper looked like a red siren calling out to her fans. We heard you, Ms. Harper, and we loved every minute!
The haunting melody of “At the Ballet” was a favorite. Sheila, played by Kate Loprest, has been around on the line for a while and seems to know Zach. She’s haughty and beautiful on the outside, but we see glimpses of her vulnerability through Lopret’s superb portrayal of her character. Joining her in this number are the graceful Maggie, played by Jackie Raye, and spunky Bebe, played by Erika Conaway.
The hilarious duet “Sing!” between Kristine (Julia Lynn Sammon) and Al (Nick Varricchio) was another favorite. These two did not miss a beat during this fast-paced, slapstick number. Kudos to this pair—the chemistry between them was adorable.
Val, played by Amanda Miller, is the T&A girl (tits and ass), the character that Hamilton inspired. Her number “Dance: Ten; Looks: Three” gives us a glimpse into the less savory aspects of auditions. Her dancing was superb, but she wasn’t getting cast because of her looks. Her solution? As she puts it, she got some tits and ass! Miller played this character hilariously well, as the vivacious, buxom, blonde, brazen Val struts across the stage coached, no doubt, by the illustrious Hamilton.
Shout outs to our Long Island grown talent gracing The Gateway stage in A Chorus Line. Diana Princi, who plays Lois, graduates from Patchogue-Medford in June and has danced with Stage Door School of Dance since she was three—and it shows. Princi is a tiny, dark-haired force of nature, commanding the stage with her impeccable dance style and mesmerizing the audience with her melodious voice. Well done, Ms. Princi! Julia Lynn Sammon, who plays Kristine, is also a Long Island native making her Gateway debut, and we hope to see more of her there!
A Chorus Line is a show within a show, a glimpse into the world of actors and the oftentimes grueling audition process these “kids” have to endure. The music is captivating, the dancing is thrilling and the finale will knock your socks off. This singular sensation will be reverberating in your head, and you won’t be mad about it.
Broadway World
Melissa Giordano
Though the classic musical A Chorus Line may be produced fairly consistently, it is always refreshing to see a good quality, professional, local production. And this is exactly what you'll get when you see the Tony winner running through May 26th at Long Island's historic Gateway Playhouse soon to be celebrating their 70th year. The large Broadway caliber cast is brilliantly directed and choreographed by Mitzi Hamilton who has had a long association with the show including the original Broadway production.
The tale, as we know, written by James Kirkwood and Nicholas Dante, follows several actors going through the audition process to be cast in an upcoming musical. This is set to the iconic Marvin Hamlisch/Edward Kleban score that includes favorites "One" and "Sing!" among others. What's beautiful about this piece is that each member of The Ensemble Company gets to shine. They truly make you feel their tension and the overall stress of the entertainment industry.
As the auditions for the fictional musical progress, Zach, the show's director portrayed by Victor Wisehart, proceeds to ask each person about themselves. The stories vary and some will bring you to tears. Among the highlights is an emotional story from Cassie, strongly portrayed by Sabrina Harper, who then interprets her passion for dance into a stunning and inspired performance ("The Music and the Mirror"). Truly, everyone in this cast is dazzling.
On the clever creative team, special kudos to Kim Hanson for the excellent lighting design bringing the bare stage alive. The "auditions" take place in an undecorated/unfurnished room with only ceiling-high mirrors upstage. It takes a top-notch cast to keep the audience's attention with minimal sets and props and the nearly sold out crowd responded well. And, naturally, it is always delightful to see stellar live orchestra this one superbly conducted by Music Director Hosun Moon.
And so, A Chorus Line is certainly another hit for the The Gateway Playhouse of Bellport. A marvelous cast, gripping story, and a top notch creative team make for a thrilling night of theatre.
