MUSIC
“A Chorus Line”
Music, Martin Hamlish; lyrics, Edward Kleban; presented by Phoenix Players; direction, Kelda McManus; musical direction, Andrea Clifford; choreography, Amy Fitzpatrick. ANU Arts Centre until August 2.
Reviewed by Bill Stephens

AUDITIONS are an inescapable part of the process of casting almost any theatrical production, and Michael Bennett’s “A Chorus Line”, not only exposes the audition process, but also the psyche of those dancers who aspire to dance in the ensemble of a Broadway show.
In 1975, when it first took Broadway by storm, “A Chorus Line” was considered ground-breaking, partly because of its subject matter, but mostly because it was one of the first musicals in which the performers were required to be able to sing, dance and act with equal ability.
As a result, “A Chorus Line” offers considerable challenges for any cast, not the least the expectation that they be able to convince the audience that they could conceivably be candidates for selection as dancers in a Broadway show.
It is to the credit of Phoenix Players that they have been able to assemble such a cast, and this production contains enough good performances to succeed as an evening that is absorbing, occasionally moving, and always entertaining.
In a show in which almost everyone gets an opportunity to shine, this production can boast stand-out performances from Elizabeth Ellis as Cassie, the star dancer who wants to get back into the chorus; Sean Ladlow, as the Broadway director, Zach, and Adrian Flor, as the confused and damaged, Paul.
Most of the cast is onstage for almost the entire performance, but Kelda McManus’ confident, resourceful direction prevents any flagging of interest.  Amy Fitzpatrick has cleverly devised choreography that successfully approximates the original Michael Bennett style. Her staging of the finale is particularly impressive and is, as it should be, simply dazzling.
An impressive orchestra under the musical direction of Andrea Clifford, Brian Sudding’s deceptively simple setting, enhanced by excellent lighting design by Chris Neal and Andrew Snell, and the appropriately showbizzy costumes of Christine Pawlicki, are all integral elements of an impressive production which successfully captures the essence of an enduring Broadway masterpiece.