A Chorus Line (Free-Rain Theatre Company) - Review
Pictured: Cast of A Chorus Line. Photo: Janelle McMenamin
Certainly a *snap* dimensionally-more-than-singular sensation, A Chorus Line is a brutal undertaking by any prospective production team or cast, and I don't think anyone would have it any other way. In fables of show business, the prospective journey to break through and achieve stardom is often just that; a fable. Over here in reality, the theatre is a cut throat business; one that takes considerable effort, skill, and luck to make it anywhere in. And what better environment to showcase that competitive setting than to examine it at its most modest of positions...
The audition room of a titular Chorus Line; the gateway to stardom and the place where all performers begin their tumultuous journey of sink or swim.
The show itself demands of its cast and crew fierce discipline; a symbiotic, equalised showcase of talent, each performer on par with the one next to them, to keep the audience guessing who is going to "get it". While no one is to stand out, they must be executing manoeuvres perfectly, while offering distinct characterisations and impeccable singing voices. And of course, they must be united together by a vision that is precise and measured. At first glance, it may seem like the type of production manufactured for the professional sphere alone, and yet, the community-assembled cast and crew of Free-Rain Theatre Company's A Chorus Line not only scores, but soars, with flying colours.
Director and Choreographer Michelle Heine, one who is very familiar with the game of dancing in the professional sphere, has absolutely outdone herself in eliciting disciplined synergy from her cast of performers, all varied in their experience levels. Choreography is calculated not just under the lens of skill, but characterisation; Heine's cast are flawless when they need to be, yet drag where they need to for the story beats to hit. With assistance from Acting Consultant Isaac Gordon, Heine has tempered her exceptionally large cast to function as a unit of constant cooperation and equalisation; not one performer stands out where they oughtn't, nor lags behind when they shouldn't.
This discipline in cast is matched by Craig Johnson and his band, as they effortlessly perform Hamlisch's score to utter perfection. Johnson has also ushered forth a fabulous set of singing voices from the cast, which impressively remain unaffected by the intense choreography. With not a note out of order, it is a show that sounds as good as it looks.
This discipline was spotlighted by a technical issue on the Tuesday night preview that unfortunately halted the show's second Act. Despite the interruption, once those curtains were drawn back once more, Heine's cast and Johnson's orchestra snapped back into action and continued on, unfazed, earning them well-earned applause, as well as the renewed attention of the temporarily distracted audience without a moment's thought.
On the topic of the performers on stage, there is exceptional characterisation exhibited by each and every performer. I hesitate to mention individuals without disclaiming that every single one of them were at the top of their game; there was not a foot out of step on stage. Overlooking the choral auditions is Michael Cooper's Zach, who commands attention from both prospective cast and audience alike, while also demonstrating a softer side that acts as the vessel to which the audience may see the human within each and every one of his performers. Ylaria Rogers' Cassie is an ode to the performer who feels beyond their prime; as if they've reached a dead end in such an uncertain career. Rogers is emotionally devastating in her showcase of one that has since put the dreams of stardom behind her and just wishes for a way to get by in a business she can't stop coming back to.
Elsewhere, Cameron Taylor as Mike wows the crowd with his impressive tapping maneuverability in "I Can Do That", Rylan Howard's Al and Imogen Baggoley's Kristine show impressive characterisation and chemistry in "Sing!", Emma Solis is entertainingly vain as Val in the rompy "Dance: Ten, Looks: Three", and Kay Liddiard, Laura Evans and Ashleigh Nguyen offer differentially tender characterisations in "At the Ballet". Alexander Matthews offers a heart-wrenching performance as Paul, delivering a monologue as long as it is impressive with utter believability and emotional heart, while Ashleigh Maynard stuns as Diana with a voice practically made for the role; her ballads are one of the many musical highlights of the show. Before I move on, I'd like to once again iterate that these performers are but a fraction of the talent on display throughout the show; it bears repeating, but it is a show of many instances of brilliance in syncopation with each and every other.
Zac Harvey's lighting design is executed with pinpoint precision, with further mention going to his supporting followspot technicians John Bertram and Aidan Bavinton, all of which worked to maintain a lighting environment that was as disciplined as the creatives at work on stage. Barring the aforementioned technical difficulties, Telia Jansen's sound design was perfectly accommodating of the show's precise dialogue, harmonies, and instrumentals. Matthew Ovenell's set design is wickedly brilliant in its simplicity, possessing dynamic qualities that were command-able by the cast with ease. And Heine's costume designs were brilliantly simple, each piece distinct in the dressing of its cast, yet in tune with every other so as to ensure no one performer stood out visually.
Free-Rain's A Chorus Line is a phenomenal production, ticking every box on its list. There's not much more to say; it's one of my favourite shows of the year. One of 2025's must-see community theatre offerings.
Hop to it now. And a 5, 6, 7, 8...
Tickets: https://theq.net.au/whats-on/a-chorus-line/
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