Review: Dynamic dancing drives this S.F. ‘Chorus Line’

Who knew a musical about auditioning for a musical would become such a phenomenon? But “A Chorus Line,” the now-classic musical that recently opened at San Francisco Playhouse, is nothing if not a singular sensation.

There was nothing like “A Chorus Line” when the musical debuted in 1975. Inspired by taped conversations with actual Broadway dancers, some of whom were in the original cast, the show alternates between terrific synchronized dance numbers, as the dancers learn their steps, and heartfelt confessionals about the cast members’ lives, bizarrely solicited by the director as part of the audition process.

Starting at New York’s Public Theater in April 1975, it quickly moved to Broadway, where its original production ran for 15 years. The show won the Pulitzer Prize for drama in 1976.

“A Chorus Line” is indelibly associated with its original director/choreographer, Michael Bennett, who’s also credited with conceiving the play. With a book by James Kirkwood Jr. and Nicholas Dante, it boasts lively (if distinctly ’70s) songs by composer Marvin Hamlisch and lyricist Edward Kleban that are guaranteed to get stuck in your head if they haven’t already been stuck there for years.

It’s not an easy show to pull off, because it demands some excellent dancing. That is, after all, what it’s about. It also demands a large cast. The ensemble of 26 onstage at SF Playhouse comprises the theater’s largest cast ever.

Of all the elements in artistic director Bill English’s production, appropriately enough it’s the dancing that shines brightest — sharp, tight and beautifully in sync.

Choreographer Nicole Helfer has worked on many SF Playhouse shows in recent years, but here she’s really given a chance to shine. Helfer’s dance numbers are of course inspired by Bennett’s iconic choreography but don’t necessarily hew closely to it, and the result is dazzling. It’s even more impressive when you consider how many people are crammed on the stage at once, seamlessly dancing side by side.

Helfer feelingly plays the lead role of Cassie, a formerly successful solo dancer now desperate for a job in the chorus — desperate enough that she pleads with the director, who also happens to be her ex-boyfriend and is much harder on her than his is on the other dancers.

Keith Pinto exudes curt manipulativeness slightly leavened with compassion as director Zach, throwing himself into the dance as he shows the others their moves. Ann Warque is businesslike and self-assured as assistant chorographer Lori (usually Larry), dancing each part with precision.

It’s a great cast all around, from Alison Ewing’s sardonic Sheila to Tony Conaty’s irrepressibly enthusiastic, high-energy Mike. Gwen Tessman is amusingly exuberant as Kristine, who sings about how she can’t sing with husband Al (comically wincing M. Javi Harnly) finishing her sentences. Chachi Delgado dances dynamically as Richie, and Melissa WolfKlain wryly delivers Val’s memorably saucy ode to plastic surgery.

Alex Rodriguez is sympathetically doleful as gay Puerto Rican dancer Paul, whose curiously crushing shame about having been in a drag act resonates differently amid all the anti-drag hysteria currently being fanned up in this country.

Samantha Rose Cárdenas’ Diana emanates power and passion in two of the musical’s showstoppers about the agony and the ecstasy of the work.

The cast and the backstage orchestra led by music director Dave Dobrusky beautifully render the show’s many catchy numbers.