Review: Real Or Acting? 'Chorus Line' Performances Blur Answer
July 28, 2016 at 4:25 p.m.
By David [email protected]
Just lighting and a bare theater stage make up the scenery for Wagon Wheel Theatre's production of "A Chorus Line."
It's a metaphor for what the casting director, Zach (John Rapson), wants out of the dancers auditioning for his next big show. To have them bare their lives and desires to him, to have them strip away all the extra layers and just be who they are off the stage.
And with the performance given by this amazing cast of "Chorus Line" opening night Wednesday, you believe every word they utter, every emotion they express and every facial expression they reveal.
With "Chorus Line," Artistic Director Scott Michaels is three for three for the shows he has directed this summer season. Counting Tony Humrichouser's direction of "Brigadoon," the WWT is four for four.
Bringing the directors' visions to the stage has been this season's phenomenal cast. I can heap all the praise in the world on them, but you just need to watch them work their magic to really appreciate what they do on stage.
So, where to begin?
As the "director" in the show, Rapson is not on stage too much during "Chorus Line." You see him at the start when the dancers are learning the steps for the audition, but then he goes away to the sound booth and you only hear his voice for most of the musical. But through his voice, Rapson performs his role more than well. And he takes the stage for several key scenes, bringing his own brand of fire with him. Audiences can easily see Rapson as a director in his role as Zach.
One of the first scenes that brings Rapson back on stage is in Act II.
Paul (Ryan Castillo) doesn't want to talk about his past to Zach in front of the other dancers. While the others are offstage, Zach gets Paul to open up. In one of the most emotional scenes I ever remember seeing on the WWT stage, Paul ends up breaking down in tears. Castillo really brings on the waterworks (causing several audience members around me to also break down in sobs). Zach comes down from the sound booth and consoles Paul.
Castillo gives such a strong performance that you'd have to be one hell of a cold fish not to be sympathetic. Castillo, when given a chance, shows he has what it takes to be an actor.
As for dramatic, Rachel MacIsaac delivers an intensity to the role of Cassie that few could match.
Cassie and Zach have a romantic past. She left him when he loved his work more than her. Zach can't understand why she's auditioning for just a chorus line part. She should be a star! But all Cassie wants is a job. She realized she can't act. She doesn't want to wait tables or teach someone else what she should be doing. She wants to dance.
In one exchange, Zach tells Cassie, "You can't go back to the chorus, Cassie." Cassie responds, "I'm not trying to go back. I'm trying to start over."
And when MacIsaac performs "The Music and the Mirror," she is more than a star. Her heated exchanged with Rapson's Zach, her dancing skills, her singing - MacIsaac is a constellation of stars because she is that good. She's the kind of actresses that people travel to New York to see on Broadway. And here she is in Warsaw on the Wagon Wheel stage. Wow.
Another source of tension in "Chorus Line" is the rivalry between the 25-year-old Val (Ashley Travis) and the 30-year-old Sheila (Jennie Sophia).
First off, both Travis and Sophia are two beautiful women. Neither one of whom looks nearly 25 in person. However, in "Chorus Line," they slip into their roles as easily as if they were playing themselves.
Val grew up without any "boobs or butt." After attempting to make it on Broadway, she saw the kind of girl that lands a role, so she had some enhancements. Now, she's a sexy siren that is more likely to land a role. When Travis sings "Dance: Ten; Looks: Three" at the end of Act I, you'll have "T&A" ringing through your head during the whole intermission until "One" dubs over it. More than that, Travis was just perfectly cast as Val. She's sexy, she's funny, she's playful, she's a natural actress.
In "Chorus Line," Sophia gets to play a less-attractive role than her previous goody-goody ones. Sheila is a stubborn, self-centered, chain-smoking, valium-addicted, possibly alcoholic downer. She'd rather try to bring Val down a notch or two than to encourage her. She's dancing for the money, not for the love of dancing anymore.
In the role of Sheila, Sophia gets to play out of her usual element, and she is more than sublime, proving my theory that there is nothing Sophia can't do on stage (that I've seen).[[In-content Ad]]Getting the first solo in the musical is Andrew Laudel as Mike. As well as being a good singer, Laudel also gets to show off his impressive dancing skills. He almost flies on the stage like a spinning top.
Taking a bit of the comedic role is David Glenwright as Bobby. In my notes for Bobby, I wrote down things like "real character," "funny," "engaging" and "likeable." That's what Glenwright offers to the role. After seeing him in a darker role as Harry in "Brigadoon," it's good to see that Glenwright has range and can take on a role such as Bobby.
In two songs, audiences get the privilege of hearing Zachary McConnell sing. The first time is in "... And ..." and then Part 4 of the Montage. Audiences know he can dance, having seen his talent in "High School Musical." But on top of that, with "Chorus Line," audiences will know that the young man can belt one out too.
Also a talented singer is Adrianna Parson as Maggie. Parson unfortunately doesn't get her own solo, but when she does get to sing a bit, she's got a great voice to go with her other talents of acting and dancing.
Brandon Springman and Kristen French play the married couple of Al and Kristine. As we discover, Kristine is tone deaf and Al finishes all of her sentences. Springman and French are so believable in their roles, you almost have to wonder if they've known each other for years in real life. They're very good together, especially when they sing the song "Sing!"
Of course, watching Jen Dow play Connie is a good time, and Erica Wilpon easily fits in the role of Bebe. Carleigh Bettiol is a feisty Diana who also is pleasant to listen to when she sings "What I Did for Love."
When talking about the medical book he read growing up, Jose Sepulveda brings much laughter to the role of Mark, while Rob Riddle looks confidently serious as Larry.
"A Chorus Line" is probably the most adult show of the WWT summer season this year. It contains some salty language and frank talk about sexuality. However, it would be a shame if that kept any mature person from enjoying this spectacular production. It's a study into the lives of the men and women who love to entertain on the stage. And when the characters have a discussion on what would they do if they couldn't dance any more, you feel the passion of the WWT performers as if they really are talking from the heart.
My rating (out of four): 4.
Just lighting and a bare theater stage make up the scenery for Wagon Wheel Theatre's production of "A Chorus Line."
It's a metaphor for what the casting director, Zach (John Rapson), wants out of the dancers auditioning for his next big show. To have them bare their lives and desires to him, to have them strip away all the extra layers and just be who they are off the stage.
And with the performance given by this amazing cast of "Chorus Line" opening night Wednesday, you believe every word they utter, every emotion they express and every facial expression they reveal.
With "Chorus Line," Artistic Director Scott Michaels is three for three for the shows he has directed this summer season. Counting Tony Humrichouser's direction of "Brigadoon," the WWT is four for four.
Bringing the directors' visions to the stage has been this season's phenomenal cast. I can heap all the praise in the world on them, but you just need to watch them work their magic to really appreciate what they do on stage.
So, where to begin?
As the "director" in the show, Rapson is not on stage too much during "Chorus Line." You see him at the start when the dancers are learning the steps for the audition, but then he goes away to the sound booth and you only hear his voice for most of the musical. But through his voice, Rapson performs his role more than well. And he takes the stage for several key scenes, bringing his own brand of fire with him. Audiences can easily see Rapson as a director in his role as Zach.
One of the first scenes that brings Rapson back on stage is in Act II.
Paul (Ryan Castillo) doesn't want to talk about his past to Zach in front of the other dancers. While the others are offstage, Zach gets Paul to open up. In one of the most emotional scenes I ever remember seeing on the WWT stage, Paul ends up breaking down in tears. Castillo really brings on the waterworks (causing several audience members around me to also break down in sobs). Zach comes down from the sound booth and consoles Paul.
Castillo gives such a strong performance that you'd have to be one hell of a cold fish not to be sympathetic. Castillo, when given a chance, shows he has what it takes to be an actor.
As for dramatic, Rachel MacIsaac delivers an intensity to the role of Cassie that few could match.
Cassie and Zach have a romantic past. She left him when he loved his work more than her. Zach can't understand why she's auditioning for just a chorus line part. She should be a star! But all Cassie wants is a job. She realized she can't act. She doesn't want to wait tables or teach someone else what she should be doing. She wants to dance.
In one exchange, Zach tells Cassie, "You can't go back to the chorus, Cassie." Cassie responds, "I'm not trying to go back. I'm trying to start over."
And when MacIsaac performs "The Music and the Mirror," she is more than a star. Her heated exchanged with Rapson's Zach, her dancing skills, her singing - MacIsaac is a constellation of stars because she is that good. She's the kind of actresses that people travel to New York to see on Broadway. And here she is in Warsaw on the Wagon Wheel stage. Wow.
Another source of tension in "Chorus Line" is the rivalry between the 25-year-old Val (Ashley Travis) and the 30-year-old Sheila (Jennie Sophia).
First off, both Travis and Sophia are two beautiful women. Neither one of whom looks nearly 25 in person. However, in "Chorus Line," they slip into their roles as easily as if they were playing themselves.
Val grew up without any "boobs or butt." After attempting to make it on Broadway, she saw the kind of girl that lands a role, so she had some enhancements. Now, she's a sexy siren that is more likely to land a role. When Travis sings "Dance: Ten; Looks: Three" at the end of Act I, you'll have "T&A" ringing through your head during the whole intermission until "One" dubs over it. More than that, Travis was just perfectly cast as Val. She's sexy, she's funny, she's playful, she's a natural actress.
In "Chorus Line," Sophia gets to play a less-attractive role than her previous goody-goody ones. Sheila is a stubborn, self-centered, chain-smoking, valium-addicted, possibly alcoholic downer. She'd rather try to bring Val down a notch or two than to encourage her. She's dancing for the money, not for the love of dancing anymore.
In the role of Sheila, Sophia gets to play out of her usual element, and she is more than sublime, proving my theory that there is nothing Sophia can't do on stage (that I've seen).[[In-content Ad]]Getting the first solo in the musical is Andrew Laudel as Mike. As well as being a good singer, Laudel also gets to show off his impressive dancing skills. He almost flies on the stage like a spinning top.
Taking a bit of the comedic role is David Glenwright as Bobby. In my notes for Bobby, I wrote down things like "real character," "funny," "engaging" and "likeable." That's what Glenwright offers to the role. After seeing him in a darker role as Harry in "Brigadoon," it's good to see that Glenwright has range and can take on a role such as Bobby.
In two songs, audiences get the privilege of hearing Zachary McConnell sing. The first time is in "... And ..." and then Part 4 of the Montage. Audiences know he can dance, having seen his talent in "High School Musical." But on top of that, with "Chorus Line," audiences will know that the young man can belt one out too.
Also a talented singer is Adrianna Parson as Maggie. Parson unfortunately doesn't get her own solo, but when she does get to sing a bit, she's got a great voice to go with her other talents of acting and dancing.
Brandon Springman and Kristen French play the married couple of Al and Kristine. As we discover, Kristine is tone deaf and Al finishes all of her sentences. Springman and French are so believable in their roles, you almost have to wonder if they've known each other for years in real life. They're very good together, especially when they sing the song "Sing!"
Of course, watching Jen Dow play Connie is a good time, and Erica Wilpon easily fits in the role of Bebe. Carleigh Bettiol is a feisty Diana who also is pleasant to listen to when she sings "What I Did for Love."
When talking about the medical book he read growing up, Jose Sepulveda brings much laughter to the role of Mark, while Rob Riddle looks confidently serious as Larry.
"A Chorus Line" is probably the most adult show of the WWT summer season this year. It contains some salty language and frank talk about sexuality. However, it would be a shame if that kept any mature person from enjoying this spectacular production. It's a study into the lives of the men and women who love to entertain on the stage. And when the characters have a discussion on what would they do if they couldn't dance any more, you feel the passion of the WWT performers as if they really are talking from the heart.
My rating (out of four): 4.
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