Theater Review -- Tom Titus

Young dancers prick up their ears at news of auditions for a new

production of “A Chorus Line,” but dancing is only part of the talent

package required, as evidenced by the superbly balanced production now on

stage at the Costa Mesa Civic Playhouse.

You also need acting skills to match the demanding choreographic

movements of the handful of performers who form the nucleus of this

mid-70s “singular sensation,” which delves into the lives and aspirations

of Broadway’s dance corps gypsies.

Written by James Kirkwood and Nicholas Dante, with music by Marvin

Hamlisch, the show is the brainchild of someone uncredited in the

playhouse program, the late Michael Bennett, who collected the true

stories of dancers in his company and assembled them while applying the

choreography to the original production.

The result, when presented at a level as high as that established by

director Damien Lorton’s richly flavored version, is two and a quarter

hours of intermissionless high-energy entertainment matched by layers of

dramatic catharsis which may bring a tear or two to the eye. Costa Mesa’s

dynamic production, expertly choreographed by Nikki Peek, hits the high

notes both musically and theatrically.

Created in 1975 -- and retained in that period for its current

presentation -- “A Chorus Line” examines the dreams and motivations of

Broadway dancers whose primary mission is to blend in seamlessly behind

the principals. A significant portion of the show is devoted to the

probing question of “What happens when you can’t dance any longer?” It’s

definitively answered in the haunting number “What I Did for Love”

At Costa Mesa, Kyle Meyers exudes a stern aura of authority

purposefully masking a compassionate heart as the director who must

choose eight dancers from the horde who answer the casting call. Though

heard but unseen through much of the show, Meyers is a demanding

presence, eventually taking the stage to face off with a former lover

seeking to return to the line (Amber Nelson in a richly defined

performance) in a segment that crackles with two ambitions in conflict.

Jennifer Flaherty enriches the show with her two solos -- “Nothing,”

about trying to fit into a “method acting” class, and “What I Did for

Love,” summing up the dancers’ hopes and dreams in their brief

professional careers. Kelli LeMaster splendidly enacts the older,

been-there, done-that chorine Sheila, whose performance is steeped in

attitude.

One of the show’s many highlights is created by Megan Endicott as she

tunefully trumpets the virtues of plastic surgery’s impact on show

business in “Dance 10, Looks 3.” Nicole Cassesso is cute and peppy as

Judy Turner (“It’s really Lana Turner”) who can’t seem to remember her

numerical designation.

Rachel Scott as the giddy, giggly Kristine hits the comic high note of

the show as she bemoans the fact that her singing voice leaves much to be

desired, assisted by Gary Trinidad as her new husband, who provides the

lyric-ending harmony. Deborah Fauerbach and Sarah Hopp join LeMaster for

an alternating study of three dancers’ early unpleasant experiences in

“At the Ballet.”

As the veteran Cassie, Nelson eschews the character’s traditional

burgundy sash for a brief, green, two-piece outfit that illustrates that

she’s still quite fit for chorus duty. Her signature dance number, “The

Music and the Mirror,” is beautifully performed, but her dramatic quality

is equally impressive as she fights for a place in her ex-lover’s chorus

line.

Robert Argueta creates the most heart-rending moments of the show with

his poignant interpretation of Paul, a gay youth who found refuge in

drag-style theater. His extended monologue is delivered with heavy doses

of internal anxiety as he describes encountering his parents in full

costume and makeup.

Particularly energetic performances are turned in by Brian Fegley as

the ex-basketball player Richie; Mark Velarde as Mike, a dancer who

literally followed in his sister’s footsteps; Vikki Yuen as the pint-size

Asian, Connie, who strives to keep up with the bigger girls; and Jason

Kraft as Bobby, a strange kid from Buffalo whose hair is a disaster area.

The three-piece band (pianist Joey Kincer, drummer Jermain Sherman and

guitarist Shawn Batsel) does the work of a full orchestra in this

up-tempo production. Ryan Hood’s mood-setting lighting designs are

splendidly accomplished.

The Civic Playhouse’s “A Chorus Line” is one of the finer versions of

this landmark musical, which has been around the local block several

times but rarely ceases to move and entertain its audiences. What they do

for love is beautifully presented.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Thursdays and Saturdays.

FYI

WHAT: “A Chorus Line”

WHERE: Costa Mesa Civic Playhouse, 611 Hamilton Ave., Costa Mesa

WHEN: Thursdays through Saturdays at 8 p.m., Sundays at 2 p.m. until

June 30.

COST: $15

CALL: (949) 650-5269