Review: The 5th Avenue Theatre's "A Chorus Line" is a Spectacular, Timeless Production

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The masterpiece kicks its way back to Seattle

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Dear Readers, I don’t mean to make anyone feel ancient but “A Chorus Line” is 51 years old! And the 5th Avenue Theatre dusting off the old girl for their current remount may feel like a bit of nostalgia. But if their spectacular production proves anything, it’s that “A Chorus Line” is still the masterpiece it always was.

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Conceived, originally choreographed and directed by Michael Bennett , with a book by James Kirkwood and Nicholas Dante , music by the great Marvin Hamlisch , and lyrics by Edward Kleban , the show opened in 1975 and focused on 17 Broadway dancers each hoping for a spot in the chorus of the latest big Broadway show. But rather than focusing solely on singing and dancing, the director Zach (Brandon O’Neill) has each of the hopefuls dive into their own past giving the audience a glimpse into the lives and minds of what drives a person to attempt a career in such an unforgiving industry.

This iconic juggernaut of a show won 9 Tony Awards including Best Musical, and at the time of its closing in 1990, it was the longest running Broadway show with 6,137 performances and to this day is still number 7 in that list. And despite its age and a few references that younger audience members may need to look up (it hurts me when younger people ask, “who’s Robert Goulet ”. I mean Robert Goulet , Robert Goulet , my God, Robert Goulet ) “A Chorus Line” still manages a sincere relevance and furthermore still wows with the singing and dancing prowess of its cast.

And this cast from the 5th Avenue is no exception. I’ve seen many productions over the years, from tours to community theater to Broadway revivals, and this 5th Avenue ensemble ranks up with the best of them. For me, there are a few key moments of the show for it to live up to its greatness, and it hit them all.

We’ll start at the top. Mike’s ( Alessandro J. Lopez ) “I Can Do That” sharing how he used to envy his older sister’s dance lessons. A personal and sentimental favorite of mine as I did a tap routine to it in my youth, but it also beautifully kicks off the “stories” each of the auditioners tells, setting up we’re not only in for some kick ass numbers but also the narrative tone of the show. And Lopez managed it perfectly. It’s not an easy thing to have to go first, as Lopez’s character attests, and he nailed it.

Next up we have a trio of ladies all telling of their time “At the Ballet”. Sheila, Bebe, and Maggie ( Tori Gresham , Emily Ann Brooks, and Kayla Pecchioni ) each relaying of their difficult family lives and how “everything was beautiful at the ballet.” Here’s where the more emotional moments come into the show and where we first have a showstopper moment. That moment is Maggie’s with a note that always sends chills down my spine and Pecchioni nailed it. I also must call out Gresham for bringing in some delicious comedy to her character.

Then there’s Diana ( Samantha Gershman ) with her tale from her high School drama class in “Nothing”. A definite favorite and Gershman conveyed the tale beautifully. And I may be jumping around a bit here, but I have to also call out Gershman for starting off the lovely and powerful “What I Did for Love”. Kind of the crux of the show and sadly often taken out of context as a love song.

Next up there’s the insanely athletic and energetic Richie ( Brandon LaVar ) with his “Gimme the Ball”. Another moment that just brings the house down and Lavar owned it. Not just with his moves and vocals but with some wonderful infusion of the story. And speaking of delightful storytelling, we come to Val (Susanna Cathryn Ballenski) and “Dance: Ten; Looks: Three” as she shares how she overcame not getting parts due to her looks. Ballenski strutted around and owned the stage with a delicious confidence. And then there’s the moment without a number where Paul (Kayden Oliver) makes us all cry as he recounts his struggles coming to terms with his family knowing who he really is. A stunner.

But one of the biggest key moments of the show has to be the dancer hoping to make a comeback, Cassie ( Sara Esty ), and her show stopping solo dance piece with “The Music and the Mirror”. Now, I’ve seen this one on all sizes of stages, and the somewhat diminished size of the 5th Avenue stage concerned me as this one needs some room. And while I felt Esty seemed to be fighting those cramped quarters at times, she also brought the house down. No small feat in a show where the house comes down every other number.

And of course, that rousing finale with “One” that shows off the entire brilliant ensemble as well as the directing and choreography genius of Denis Jones . Some of the choreography is a fixed point in this show (hence why Michael Bennet is always named in the programs), but Jones also took many numbers and gorgeously made them his own. And on a side note, to the audience members who started to leave before the reprise of “One” started as they thought the show was over, a little patience please. I know the 2 hour and 5 minute with no intermission run time may be hard on your bladder, but pee before the show as you missed out on the iconic finale.

The 5th Avenue has knocked this one out of the park showing off what this masterpiece of a show can still look like. And so, with my three-letter rating system, I give the 5th Avenue Theatre ’s production of “A Chorus Line” a singular sensation of a YAY+. Be sure to catch this classic before it high kicks its way off stage for good.

“A Chorus Line” at the 5th Avenue Theatre performs through September 27th. For tickets or information visit them online at www.5thAvenue.org .

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/seattle/article/Review-A-CHORUS-LINE-at-The-5th-Avenue-Theatre-20260919)._