A Chorus Line

When a group of New York dancers gathered at midnight to talk about work and record their stories for choreographer Michael Bennett, a celebration of the resulting show, A Chorus Line, 50 years later must have been the last thing on their minds. But here we are, many awards, record-breaking performances later, and A Chorus Line is 50 this year. And one of this award-winning musical’s many achievements was to create a more robust supply of triple-threat performers. As Michael Bennett asserted: “Broadway dancers are now singers and actors”. And one group that personifies that continuing trend today is the talented third-year students at QAEMT.

A Chorus Line is a group biography of Broadway dancers at a time when work was hard to find. It starts with the desperation of the audition process, and ends with a joyful celebration of (in Bennett’s words) “being part of a great team”. And what a team of new triple-threats we can enjoy in this production: Lily Bennetts as Vicki; Niamh Cadoo-Dagley as Richie; Ellie Carragher as Connie; Sage Del Carmen as Paul; Chloe Flanagan as Judy; Brydie Faith Hall as Sheila; Ella Rose Harding as Cassie; Lucas Harm as Larry; Samuel Henderson as Zach; Olivia Horne as Val; Kate Hudon-James as Bebe; Saul Kavenagh as Al; Christina Keen as Kristine; Ned Kelly as Greg; Max Maldock as Mark; Croft Phillips as Mike; Charlie Preston as Maggie; Mateja Sardelis as Diana; Cooper Swain as Bobby; Sam Thomas as Roy; Orlando Vella as Don; Ella Wood as Tricia. Their performances are nuanced, controlled and range from deep personal drama to high camp comedy.

It’s a thoroughly enjoyable and moving ensemble production, so it is unfair to single anyone out. Every part has been so well cast – you could see this show 22 times and focus on each performer and never be disappointed. However, as Mike, Croft Phillips has the daunting task of kicking off the whole show with his number ‘I can do that’, but he sets the tone with confidence (and amazing dance steps!).

The show is bookended by Ellie Carragher’s wonderful interpretation of ‘What I did for love’ as the show’s emotional closer before the big finale.

Christina Keen and Saul Kavenagh as the husband and wife duo Kristine and Al, admitting that Kristine really can’t sing that well, do a wonderful comic turn with ‘Sing!’. With such expert training, it must be hard to sing off key, but Christina does so with unashamed aplomb. Realistically portraying a character well beyond her years, Brydie Faith Hall’s Sheila is a life-worn, performer with a protective shell.

Ella Rose Harding fits perfectly as Cassie, the musical theatre star forced to take a step back to the chorus, and she dances the difficult solo, to outstanding choreography by Dan Venz in the Bennett style. Olivia Horne has heaps of fun as Val, whose ‘Dance: ten; Looks: three’ is a great crowd pleaser. And, while in smaller roles, Niamh Cadee-Dagley and Kate Hudson-James are so natural, calm and centred on stage at all times, they add to a strong stage presence. Sage Del Carmen portrays Paul with heartfelt ease, and Samuel Henderson is a constant reminder of the stress of the audition process as Zach, the director/choreographer. 

Directed by Alister Smith (Grease, Cry Baby the Musical, Legally Blonde the Musical, also for QAEMT) this is a must-see production. Once again, of a world-class standard, and so much cheaper than a flight to New York! The backstage setting ambience is perfectly created by Keith Clark’s lighting and Steve Thornely’s sound. Also filling the stage is an ensemble of more than 40 second- and third-year musical theatre students and an orchestra conducted by Musical Director, Nigel Ubrihien performed by music students.

Ironically, after the characters bear their hearts and souls, the finale sees the dancers go back to being anonymous in a 100-plus chorus line of dancers in gold sequins – in stunning costumes by Penny Challen (who also designed the sets). But we’ve seen a glimpse of the workings backstage and behind the façade. One thing that A Chorus Line highlights is how much hard work is involved in being on stage. It’s incredible to think that all these young performers will soon be in that position auditioning and doing the rounds of networking … it makes this production even more emotional and compelling.

The third-year students will present their final showcase later in 2025 before they graduate in December. Find out more: www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre

Beth Keehn

Photos courtesy of QAEMT