Calantropo, Bray shine in "A Chorus Line" at UMass
Jessica Chesnutt
Issue date: 4/24/03 Section: Arts
"The stage was set to resemble a Broadway stage arranged for an audition. Over twenty singer-dancer-actors crowded the stage, stretching and twirling. The lights went down, and the audition, along with the show itself, began.
A Chorus Line opened on Broadway at the Shubert Theatre on July 25, 1975, and ran for a then-record number of performances. With infamous songs by composer Marvin Hamlisch and lyricist Edward Kleban, A Chorus Line is about the struggles of the modern dancer trying to make it into the chorus of a Broadway show. The different part of this audition, though, is that the director begins to pry into the personal lives of his dancers. He is not simply looking for a certain talent; he is looking for a certain person.
The UMass Theatre Guild's production of A Chorus Line at the Fine Arts Center had an intimate and personal feel, marked with many fine performances. The group numbers, such as "I Hope I Get It," "And," and "Hello Twelve" were well-blended and powerful. The show focuses on dancers, however, and it was obvious who had the real talent in that arena. Those in charge of casting, though, made smart decisions, and the most important roles, both dancing and singing, were given to the strongest cast members.
"At the Ballet," a number featuring three soloists and pairs of dancers, was elegant in its telling of family hardships. Shelia, a brash and cocky lush, was played well by Sarah B. Murphy, though she had a tendency to overdo the come-ons. The standout vocalist of the trio was Katie Ulmer (Maggie), with a clear mezzo-soprano voice of power. The number also featured interesting lighting choices, including high-angle side lighting and overhead lighting and the use of a scrim to hide dancers except when featured.
A few individuals stood out in particular, most notably Vanessa Calantropo, in the role of Diana. Her take on the anguished "Nothing" and her solos during the group's "What I Did for Love" were amazing in range and tone, and the minimalist acting during her monologue was right on target.
A Chorus Line opened on Broadway at the Shubert Theatre on July 25, 1975, and ran for a then-record number of performances. With infamous songs by composer Marvin Hamlisch and lyricist Edward Kleban, A Chorus Line is about the struggles of the modern dancer trying to make it into the chorus of a Broadway show. The different part of this audition, though, is that the director begins to pry into the personal lives of his dancers. He is not simply looking for a certain talent; he is looking for a certain person.
The UMass Theatre Guild's production of A Chorus Line at the Fine Arts Center had an intimate and personal feel, marked with many fine performances. The group numbers, such as "I Hope I Get It," "And," and "Hello Twelve" were well-blended and powerful. The show focuses on dancers, however, and it was obvious who had the real talent in that arena. Those in charge of casting, though, made smart decisions, and the most important roles, both dancing and singing, were given to the strongest cast members.
"At the Ballet," a number featuring three soloists and pairs of dancers, was elegant in its telling of family hardships. Shelia, a brash and cocky lush, was played well by Sarah B. Murphy, though she had a tendency to overdo the come-ons. The standout vocalist of the trio was Katie Ulmer (Maggie), with a clear mezzo-soprano voice of power. The number also featured interesting lighting choices, including high-angle side lighting and overhead lighting and the use of a scrim to hide dancers except when featured.
A few individuals stood out in particular, most notably Vanessa Calantropo, in the role of Diana. Her take on the anguished "Nothing" and her solos during the group's "What I Did for Love" were amazing in range and tone, and the minimalist acting during her monologue was right on target.