If you write a play and want it to endure, write about show business. Theater folk love a story about themselves. But the key to a strong production of “A Chorus Line,” onstage at Theater West End in Sanford, is making that story more than a simple audition tale — finding a way to make it about life, not dance.
In nearly every aspect of that goal, Theater West End’s wonderfully cast production, full of the raw energy “A Chorus Line” requires, succeeds.
Based on interviews with actual professional dancers, “A Chorus Line” debuted on Broadway in 1975 and ran for nearly 15 years (it’s currently the 7th longest-running show ever on Broadway). The format is simple. Zach is casting the dancing ensemble — or chorus — for a new musical. Because some of the dancers will have minor speaking roles, he wants to get to know them so asks them to tell him something about themselves. As the audition progresses, they express hopes, dreams and fears while sharing — sometimes oversharing — their backgrounds.
When “A Chorus Line” works, you don’t have to be a dancer or performer of any kind to relate, and it works here. Everyone understands pursuing a passion, worrying about supporting a family, coping with challenges, feeling insecure about their looks, struggling to be accepted, dealing with life’s disappointments and fearing that a health issue could change everything in an instant.
Director Mayme Paul, who herself in the “Chorus Line” Broadway production, draws this commonality out of her performers; they are relatable. Even in their showbiz way, they seem like our neighbors and friends, they seem like us.
Most of the dancers we watch have a pivotal moment, and each lands solidly at Theater West End. Alexander LaPlante’s perky “I Can Do That,” Julia Famiglietti and strong-voiced Ben Gaetanos’ comic double act in “Sing,” Samantha O’Donnell’s beamingly unapologetic “Dance 10, Looks 3,” the cracks appearing in Bethany Hemmans’ emotional armor to lead off “At the Ballet” — they all seem just right.
Jordan Gago beautifully bares his soul on stage without becoming stagy, and Adriana Aquino Andino leads a moving “What I Did for Love” but shines even brighter in “Nothing,” her bitter but ultimately empowering reminiscence about drama class.
Led by the polished moves of Daniel Kermidas, Paul’s choreography fills the stage to the point you fear the huge cast will trip over each other. It works to the show’s advantage that the performers have varying ability — or deftly convey varying ability — as the movement builds and builds to the iconic, stylized “One” finale.
On opening night, it felt as if Danielle Lang held back some in her big dance solo, perhaps a function of the smallish stage. But when Lang pleads with Zach (an empathetic Myles Thoroughgood) for a second chance, an opportunity to rediscover herself, it resoundingly hits home.
It’s a bit disappointing for a theater known for live music to accompany the singers with recorded tracks, but the crisp sound mix allows Edward Kleban’s lyrics to shine. Along with Lance LaBonte’s sound design, Derek Critzer’s lighting and Kimberly Murray-Patel’s costumes dress the nearly bare set.
Long delayed because of the COVID-19 pandemic, the show almost didn’t go on for Friday’s opening-night performance. As thunderstorms plagued the area, a power outage hit the theater and delayed the show start for about 45 minutes. Partway through the opening number, the theater went dark again. Finally, at about 9:15 the 8 p.m. show happened for real.
Just like the characters they portrayed, the actors (and theater staff) didn’t let unexpected obstacles deter them from doing what they love. This is a production worth the wait.
‘A Chorus Line’
Length: 2:25, including intermission
Where: Theater West End, 115 W. 1st St. in Sanford
When: Through Sept. 4
Cost: $25-$33
Info: theaterwestend.com
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