The timeless musical A Chorus Line continues to resonate with audiences, and the recent Florida Atlantic University (FAU) Festival Rep 2023 production offered a fresh and deeply moving interpretation. Having seen numerous iterations of this iconic show, this production stood out for its diverse cast and its poignant exploration of the sacrifices made in pursuit of artistic dreams, echoing the powerful sentiment of the song, “What I Did for Love”.
On the bare stage of FAU’s Marleen Forkas Studio One Theater, the audience was immediately drawn into the raw reality of an audition. Twenty-five talented theater students embodied the desperation and hope of performers vying for a coveted spot in the chorus line. The production brilliantly showcased a phenomenal range of diversity – in size, shape, ethnicity, skin color, and gender expression. As they performed frantic dance combinations and belted out “I Hope I Get It!”, the palpable desire to succeed was infectious, reminding us of the universal yearning to be chosen, to belong. This diverse representation underscored the idea that passion for performance transcends traditional molds and expectations, a theme central to understanding “What I Did For Love A Chorus Line”.
Director Zack, portrayed by Kyle Smith, put the aspiring dancers through an emotionally grueling audition process, pushing them to reveal deeply personal experiences. This directorial choice, while ethically questionable within the play’s narrative as it seeks to exploit their pain for creative material without compensation, served to highlight the vulnerability and personal investment inherent in a life dedicated to performance. Matt Stabile, the director of this FAU production, astutely recognized this power dynamic. His Director’s Note reveals that the cast engaged in workshops to discuss these very issues – power imbalances, fair compensation, and the crucial need to maintain a work/life balance, ensuring the students were aware of the complexities within the industry they were portraying. This thoughtful approach added a layer of contemporary relevance to the production, prompting reflection on the true cost of “what i did for love a chorus line” in the real world of performing arts.
Mitchell Worrell-Olson delivered a standout performance, captivating the audience with his rendition of “I Can Do That!”. His incredible leaps and dynamic stage presence underscored the sheer physical dedication required of dancers. Doriyan De’Angelo Caty and Anthony Blatter also impressed with their energy and skill, each bringing a unique personality to their roles. The male dancers demonstrated a range of body types and styles, further emphasizing the production’s commitment to diversity and inclusivity.
The female performers equally commanded attention, particularly in their emotionally resonant songs. Cait Siobhan Kiley, Nuelle Saunders, and Olivia Beebe poignantly conveyed the longing for belonging in “At the Ballet,” revealing the refuge they found in dance amidst challenging family lives. Daniela Moon’s portrayal of Val in “Dance: Ten, Looks: Three” was both humorous and heartbreaking, exposing the harsh realities of body image pressures within the industry. Ashley Brooke Miller as Kristine provided comedic relief with her deliberately off-key singing, showcasing another facet of performance anxiety.
Sarah Sun Park as Cassie brought a nuanced vulnerability to her audition, especially when confronting her former lover, Zack. However, it was Valaria Illan as Diana who offered a powerful reinterpretation of the show’s iconic ballad, “What I Did for Love”. While traditionally understood as a love song in a romantic context, Diana’s rendition transformed it into an anthem of dedication to her craft, emphasizing the profound passion for artistry that drives these performers. This shift in perspective deeply resonated, highlighting that “what i did for love a chorus line” could be about the unwavering commitment to one’s art form, the sacrifices made, and the joy derived from performance itself. This interpretation offered a richer, more universally relatable understanding of the song’s emotional core.
Director Stabile’s choice of A Chorus Line for a university production was particularly insightful. He recognized its value in pushing student performers to develop their “triple-threat” skills – acting, singing, and dancing – essential for musical theater. Furthermore, he saw it as an opportunity to elevate the university’s musical theater program, providing students with a challenging and rewarding experience that mirrors the demands of the professional world.
The production’s technical elements were also noteworthy. Dawn Shamberger and Tim Bowman’s costumes effectively distinguished the dancers, with white tuxedos and top hats for those who advanced and sparkling blue outfits for the ensemble. Jerel Brown’s choreography was dynamic and demanding, pushing the students to their limits. Caryl Fantel’s musical direction ensured a sensational performance from the band, whose talent, though unseen, was deeply appreciated by audience members, including a guest musician who lamented the lack of recognition for theatrical musicians.
The sold-out run of A Chorus Line at FAU’s Festival Rep 2023 was a testament to the production’s quality and its emotional impact. Experiences like these, where dedication and passion are met with appreciative audiences, reinforce the profound reasons why artists pursue their craft, answering the question of “what i did for love a chorus line” with a resounding affirmation of artistic devotion. For those interested in future FAU Theatre productions, further information can be found at www.fau.edu/artsandletters/theatre/.
