‘A CHORUS LINE’ REVIVES THE BROADWAY HIT
Daily News Tribune
663620/A-Chorus-Line-revives-the-Broadway-hit
Sept 8 2008
MA
A musical has something special when it inspires the original
co-choreographer to come out of retirement to direct it.
"I started working on "A Chorus Line" 33 years ago and some days I go,
‘Oh, no I can’t do it again,’" said Bob Avian, 70, the director of
the revival of the 1975 hit. "But I love the show so much, and the
new talent brings their own personalities to the parts."
When "A Chorus Line" opens at the Boston Opera House on Thursday
for a three-week run, the musical will look nearly identical to the
original production directed and choreographed by Michael Bennett,
which won nine Tony Awards, five Drama Desk Awards and a Pulitzer.
"My intention from day one has always been to present Michael Bennett’s
masterpiece," said Avian, who was the original co-choreographer. "I
never wanted to do my own version, because it’s his greatest show
and I didn’t want to mess with that. And it’s part of my history, too."
In fact, "A Chorus Line" has inspired the same loyalty in other artists
who shaped it. Choreographer Baayork Lee, who was Bennett’s assistant
choreographer, has restaged the dances for the revival. And original
set designer Robin Wagner and costume designer Theoni V. Aldredge
also have returned for the revival.
After three decades, though, certain references have become so dated
and obscure that they fall flat on today’s audiences, and these have
been changed. But the stories of the 17 dancers auditioning for
eight places on a Broadway chorus line transcend time to move and
inspire people. And the poignancy and intensity of their emotions
are beautifully expressed in songs like "What I Did for Love," and
"I Hope I Get It," by composer Marvin Hamlisch.
"All the stories are so universal and the audience identifies with
it tremendously," Avian said. "We say things on stage that are so
intimate and truthful."
The stories are told on a bare stage with mirrors, where an
all-powerful director wants the candidates not just to dance, but
to bare their souls. So, they talk to him about their childhood and
adolescence, families and friends, disappointments and dreams.
These stories aren’t just what writers James Kirkwood and Nicholas
Dante imagined. They’re adapted from conversations Michael Bennett
recorded with real chorus line dancers.
Although the concept of an audience watching people audition seems
common today, it was original 30 years ago.
"The structure of the show is much like reality television today,
but we were the first to do that," Avian said.
Avian met Bennett when the choreographer joined the cast for the
European tour. That began a lifelong friendship and collaboration.
"When Michael Bennett asked me to work with him, I said, ‘I don’t
know if I’m a good choreographer,’ but he said, ‘We’re good friends
and you always tell me the truth and that’s really important.’ As
his career moved up, I moved up with him."
The son of Armenian immigrants who grew up in Manhattan, Avian learned
to dance when he came to Boston University and a fellow student in a
movement class encouraged him to join her at Boston Ballet. He took
classes daily for four years, his first formal training, and got
hired shortly after graduation as a dancer in the first of more than
a dozen Broadway shows.
After a long career in choreography, directing and producing for
"Company," "Follies," "Dream Girls," and other shows, Avian retired
in 2000 – until he got a call about "A Chorus Line."
"I’d had enough and life had been good," said Avian, who divides his
time between Connecticut and Florida and will attend opening night
in Boston. "But the producer said, ‘Bobby, you better go do it. This
is your show.’ We’re very protective of it."