A CHORUS LINE Study Notes

A CHORUS LINE Overview

  • Conceived and Originally Directed and Choreographed by: Michael Bennett
  • Book by: James Kirkwood and Nicholas Dante
  • Music by: Marvin Hamlisch
  • Lyrics by: Edward Kleban
  • Co-Choreographed by: Bob Avian
  • Produced by: New York Shakespeare Festival, Joseph Papp, Producer, in association with Plum Productions, Inc.
  • Copyright Information:
      - Book Copyright: © 1975, 1985 by Michael Bennett, Nicholas Dante, and Elyria Productions, Inc.
      - Lyrics Copyright: © 1975 by Marvin Hamlisch and Edward Kleban
  • Property of: Tams-Witmark Music Library, Inc.
  • Location: 560 Lexington Avenue, New York, New York 10022.

Cast of Characters

  • Director/Choreographer: ZACH
  • Assistant: LARRY
  • Auditioners:
      - CASSIE (no number)
      - SHEILA #152
      - VAL #179
      - DIANA #2
      - JUDY #23
      - KRISTINE #10
      - MAGGIE #9
      - BEBE #37
      - CONNIE #149
      - SUG #89
      - MIKE #81
      - RICHIE #44
      - DON #5
      - PAUL #45
      - MARK #63
      - GREG #67
      - BOBBY #84
      - AL #17
  • Others:
      - VICKI #60
      - TRICIA #131
      - LOIS #63 (Ballerina, non-speaking)
      - FRANK #59 (head-band boy, non-speaking)
      - BUTCH #14 (non-speaking)
      - ROY #36 (wrong arm boy)
      - TOM #40 (counts with his mouth, non-speaking)
  • Note: The Broadway Company used 32 players, consisting of 14 women and 18 men.
      - Off-stage Singers: Used for vocal support in large ensemble numbers.
  • Dance Bag Positioning:
      - Notes on ensemble members to use dark-toned bags to avoid distraction.

Opening Formation of Company

  • Instructions: Everyone should face mirrors with toes to seams.
  • Participants in Formation: Names and placements (CONNIE, PAUL, LARRY, ZACH, RICHIE, BEBE, etc.)
  • NOTE ON DANCE: All dancers perform combinations while maintaining formation.

Lights and Stage Effects

  • Lighting Cue: Change lighting positions and effects during performance and for specific group dances.
  • Panelling: Revolving panels and other set changes indicated.

Scene Setting: An Audition

  • Time Frame: 1975
  • Space: A Broadway Theatre, with note that there’s no intermission in A CHORUS LINE performance, building continuous engagement.

Dancer Choreography and Instructions

  • Audition Instructions by ZACH: Includes directions for boys and girls groups, ballet and jazz combinations, with detailed demonstrations by LARRY and calls out names for formations.
  • Key Performative Instructions:
      - Emphasis on unison dancing and maintaining the same angles and body movements.

Group Dynamics and Interpersonal Relationships

  • Group Vocalization: Singers expressing their emotional stakes like: "GOD, I HOPE I GET IT" throughout the audition for both boys and girls.
  • Personal Connections: Revealing discussions about insecurities regarding job stability and competition within the dance community. Discussions ranging from expected roles in the industry to personal stories enhance character depth.

Musical Numbers and Lyrics

"What I Did for Love"

  • Content: Reflection on personal sacrifices for love and the dance profession.
  • Key Lines:
      - "Kiss today goodbye, the sweetness and the sorrow."
      - The song encompasses the personal motivations and reminiscences of the dancers.

CASSIE and ZACH's Relationship

  • Conflict and Resolution: Dialogue between CASSIE and ZACH about expectations, career paths, and personal sacrifices in show business.
  • Themes Discussed: Personal identity, career aspirations, and the emotional weight of being in the chorus versus being a lead performer.

Conclusions from Audition

  • Final Selection: ZACH’s decision-making process on who joins the lead ensemble after rigorous auditions, highlighting not just dance skill, but also personal character and dynamics.
  • Final Thoughts from the Group: Expression of communal struggles and dreams interspersed with musical performances that blend spoken word and song.
  • Ending Note: The importance of camaraderie in the dance community is marked throughout, balancing personal ambitions with collaborative consciousness.

Additional Material (Appendices)

  • Appendix A: Alternate dialogue for characters as needed based on casting choices.
  • Appendix B: Alternative lyrics based on different character heights or physical traits.
  • Appendix C: Changes for specific actress roles to adjust for character representation.

Performance Notes

  • Audience Engagement: Audiences encouraged to reflect on their experiences and the journey of performers through intriguing and relatable content.

Overall Impact

  • Significance of A CHORUS LINE: A masterpiece capturing the essence of the struggles, triumphs, and realities of dancers, providing insight into both their professional and personal worlds, making it a significant theatrical work in the landscape of Broadway.