She is a terrific veteran "gypsy" who has had some notable successes as a soloist. The Music and The Mirror tells of Cassie's love of dance. A wrenching monologue follows in which the emotionally vulnerable Paul comes to terms with his early career, manhood, and sense of self. Dance Ten, Looks Three (Tits and Ass) follows, with Val's explanation that talent doesn't count for everything with casting directors. Greogory, speaks about his homosexuality and Diana's recollects on her horrible high school acting class (Nothing). His stories lead into Hello Twelve, Hello Thirteen, Hello Love, a montage sequence in which all of the dancers share memories of their traumatic early teens. Sing makes it cringe-ably clear that Kristine is tone deaf and Zach moves on to Mark, a young dancer guy who is eager to be in Broadway. Kristine speaks, with Al finishing her sentences. The next ones are a husband and wife, Kristine and Al. Moreover, Maggie says that she loves ballet because in the ballet someone is always there, unlike the father she has never had. Bebe adds that she likes ballet as she was not beautiful as a child and everything in ballet seems beautiful. She realises that ballet is a relief from her family life. Sheila's mother married at a young age and her father neither loved nor cared for them. The girls start to open up and sing At The Ballet, a poignant tribute to the escape Sheila, Bebe, and Maggie found in the beauty of ballet. Zach starts to question the girls and becomes angry since he thinks that the candidates do not take the audition seriously. The seventeen dancers' inner misgivings about this strange audition process (AND), but they all need the job so the session continues. Certain he could do it too, he took her place one day when she refused to go to class – and he stayed the rest of his life. Next, I CAN DO THAT has Mike recall his first experience with dance, watching his sister's dance class when he was a pre-schooler.
The first candidate is Bobby, who tries to hide the unhappiness of his childhood by making jokes.
While the show uses different characters to move through the audition, the overall pattern of stories progresses chronologically from early life experiences through adulthood to the end of a career. In order to get this job, they must put themselves on the line. The dancers eventually surge forward into a line, holding their eight-by-ten inch head shots in front of them.Īfter the director, Zach, informs the dancers that he wants to know more about them, they begin with great reluctance to talk, revealing portions of their life stories. A rehearsal piano plays as groups of dancers in rehearsal clothes vanish and reappear. In I HOPE I GET IT, we are watching the beginning of the final phase of a Broadway tryout. They are then told to talk about themselves. The director tells them he is looking for a strong dancing chorus of four boys and four girls, and he wants to learn more about them. A-five, six, seven, eight.Īt an audition for an upcoming Broadway production, a director and a choreography assistant choose seventeen dancers. How about Bebe's part? "Although I was eight or nine, I hated her." That line hits real close to home for this troper, whose mother was very much like hers growing up.The whole group.Even sadder is the fact that she's only playing make believe and talking to the air, as her real father didn't care.For this troper, it's difficult not to choke up during "At the Ballet" when she says "Daddy, I would love to dance.".It is shown that the director and everyone else involved in the casting process was crying as well, and he was offered the job on the spot. The one who eventually got the part was shown reciting the end of the monologue, and every damn person in the theater was bawling. Footage was shown from the auditions of the actors trying out for Paul. This troper took her parents to see Every Little Step, a documentary about the casting of the revival of A Chorus Line.First you learn everybody's backstory, then you see that all the years, all the physical exertion, all the isolation they put themselves through, amounts to being that fifth dancer in the sparkly spats, doing backup for the main star, absolutely unrecognizable. One of the saddest musicals ever made, about the art of making a musical.
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