London Palladium, 12
February 2013
A near-perfect
theatre work that manages to have its cake and eat it by being both clever and
moving.
Whenever I watch a musical, even if I dislike it, I
sympathise with the chorus line, the singing, dancing, hardworking anonymous
entertainers. So this particular drama is a stroke of genius, focussing as it
does entirely on the chorus.
It is also cruel. Underneath the ‘no business like
showbusiness’ sentiments, this ruthlessly illustrates that the chorus line will
remain anonymous. Although every member is skilfully sketched, there are no
stars in this show, either within the world of the show, or in our world.
It’s also not a tale about tearful clowns or navel-gazing
actors. It has a wider appeal, touching upon professional competitiveness,
personal ambition and productive employment. Each of the cast is given sufficient
time to define themselves, and while in some cases this is fairly crude, it is
cumulatively effective.
And then, in the final number, doubling as a curtain call, we experience the chorus line ‘in character’, supporting an absent star in a glittering dance routine. A powerful irony, as the dancers finally become completely anonymous, and indistinguishable, at the time when typically we would be applauding specific actors.
So, this is a postmodern drama that actually works. It even
has a big tune inserted without dramatic necessity, though in such a way that
‘What I did for love’ can be seen as the comment of the entire cast (in and out
of character) on their current career choice.
Credit for this remarkable achievement belongs to Michael
Bennett, the original writer / director / choreographer, although the programme
note claims that Bennett’s genius applied mostly to the specific productions he
directly oversaw, and cannot readily be found in new productions, such as this
one. In which case the current director, Bob Avian, deserves the credit.
One person who doesn’t cover himself in glory is the
composer, Marvin Hamlisch. His contribution is serviceable, and I’m astonished
this was such an enormous hit in the 1970s and 80s. It deserves to do extremely
well again in this revival, though I suspect the music will help sink it
(rather than a lack of star power, as great music could overcome this).
Even my recurring complaint with musical theatre, that the
cast is amplified, has less force with this work. I can’t really expect dancers
to also be able to fill the large London Palladium with their natural voices.
Still, it would be nice to be able to determine who was singing without a big
spotlight being necessary.
But then again… the essential anonymity of the cast is the
central concern of the show. A collection of attractive, superfit, talented
dancer / singer / actors working very hard night after night, and yet allowed
only small flashes of individuality before merging as efficiently as any circus
routine.
If Chekhov went to Broadway, this is what he would have
written.
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