A Chorus Line

A Chorus Line is about the “C” word – commitment – and that’s what Savoyards had in spades in their version of this Broadway classic about a group of dancers who put their talent and their lives on the line for a job in the chorus. No one could doubt the company’s level of commitment in dance, song and acting.

The musical requires every performer to be a triple threat, talented in all three departments, and although director Shelley Quinn’s seventeen dance-hopefuls performed admirably it was their level of acting that pushed this production a notch or two above the normal community theatre standard and made each soliloquy and dramatic exchange truthful.

Mike’s (Reindert Toia) introduction to dance class, Cassie (Astin Blaik) and Zach’s (Walter Lago) work and romantic history, and Paul’s (William Hinz) searing confession of the time his parents saw him dancing as a drag queen, were all truly memorable. Selin Doygun was a super Diana Morales getting maximum mileage out of the comic “Nothing” and the show’s big-ballad “What I Did for Love”. Grace Clarke made a meal of “Tits and Ass” (“Dance Ten, Looks Three”), while Reindert Toia owned the stage with his tap-routine “I Can Do That”.

In a strong ensemble it’s hard to pick favourites but those to be noticed included Luke Marino (Richie), Alana Tierney (Maggie), Natalie Lennox (Sheila), Jack Treby (Bobby), and of course Astin Blaik whose, “The Music and the Mirror” was one of the highlights.

Sue Harvey’s choreography was smart, making everyone look good, while Ben Murray’s off-stage orchestra played Hamlisch’s score with energy and spirit.

At the finale, when each performer appeared one-by-one high-kicking in their gold outfits and top-hats, they had all earned and well and truly deserved their applause.

Peter Pinne