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 the New York Shakespeare Festival, Joseph Papp, Producer, in association with Plum Productions, Inc.
  • Book Copyright © 1975, 1985 by Michael Bennett, Nicholas Dante, and Elyria Productions, Inc.
  • Lyrics Copyright 1975 by Marvin Hamlisch and Edward Kleban.
  • All rights reserved; property of Tams-Witmark Music Library, Inc., New York, NY.

Cast of Characters

  • Zach: Director/Choreographer
  • Larry: Assistant to Zach
  • Auditioners:
      - Cassie (no number)
      - Sheila #152
      - Val #179
      - Diana #2
      - Judy #23
      - Kristine #10
      - Maggie #9
      - Bebe #37
      - Connie #149
      - 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 (Headband boy, non-speaking)
      - Butch #14 (non-speaking)
      - Roy #36 (Wrong arm boy)
      - Tom #40 (Counts with his mouth, non-speaking)

Production Details

  • The Broadway Company used 32 players: 14 women and 18 men.
  • Off-stage singers support vocal performances of on-stage dancers.
  • Important to ensure audience is not aware of off-stage singers.

Opening Formation

  • All performers face mirrors in specific formation and positions.
  • Each character is given specific prompts and roles during the ensemble dance numbers.

Lighting and Staging Notes

  • Use of revolving panels and various lighting setups to indicate transitions and moods.
  • Specific recommendations for how performers should position themselves, adjust, and interact on stage.

Musical Numbers

  • Audition scenes reflect the internal thoughts of the characters, emphasizing hopes and anxieties about employment and self-worth.
  • Lyrics feature repetitious refrains such as "God, I hope I get it…" revealing the desperation and ambition of the auditionees.

Key Themes and Complex Concepts

  • Ballet is explored through character interactions and movements; techniques are highlighted through specific choreography instructions.
  • The concept of "the line" is introduced, referring to both the chorus line and the emotional journey of the characters.
      - Characters are encouraged to express personal stories and struggles through musical numbers.
      - Individual backstories are developed through poignant dialogue and song lyrics, illustrating varied experiences in the pursuit of performance careers.

Emotional and Practical Implications

  • The intersection of ambition and reality is emphasized, with characters confronting both the risks of artistic career paths and the joys they find in their art.
  • Each character’s journey reflects broader societal views on success, identity, and the fleeting nature of performance roles.

Notable Quotes and Lyrics

  • "God, I hope I get it!" - Expresses desperation for employment.
  • "What I did for love… what I did for love." - Highlights sacrifices made in personal and professional life in pursuit of artistry.

Appendix Notes

  • Alternate lines and lyrics are provided for specific performers based on their characteristics, indicating adaptability in performance content based on individual needs and identities.
  • Detailed instructions are provided for scene modifications based on performers' attributes or creative choices.

Important Notes for Rehearsals:

  • Clear communication and understanding of blocking, staging, and choreography are paramount.
  • Performers should rehearse with both technical precision and emotional authenticity to deliver truthful performances.