Chorus Line Still Engaging
At Goodspeed
By: Karen Isaacs - Oct 02, 2025
Touching, deeply emotional, heartwarming are just some of the many adjectives to describe the brilliant production of A Chorus Line at Goodspeed, extended through Sunday, Nov. 2.
Director Rob Ruggiero once again proves how talented and sensitive he is. He respects the material and rejects the idea that it needed to be “spun“ in a different way to prove his directorial credentials. He let the work speak for itself, but demonstrated thoughtful and sensitive directorial touches, including excellent casting.
The 1975 Pulitzer Prize-winning musical was developed during workshops in which “gypsies,“ the dancers, who go from Broadway show to Broadway show, talked about their lives, their childhood experiences, and their heartbreaks. It was conceived and directed by Michael Bennett with book by James Kirkwood and Nicholas Dante, music by Marvin Hamlish, and lyrics by Edward Kleban. Parenthetically, it is worth noting that another notable show, Chicago, opened in 1975. At the time, A Chorus Line won rave reviews, perhaps because Chicago is a cynical piece compared to the more heartfelt Chorus Line. Now, the revival of Chicago will have its 30th anniversary in 2026.
I’ve seen the show multiple times, including the most recent Broadway revival in 2006. This production surpasses them.
For those unfamiliar with the show, a group of dancers is auditioning for a Broadway show; as part of the audition process, the director (Zach) wants to get to know them as people and asks them to discuss various aspects of their childhood and how they became dancers. For the men (or boys as they are referred to), there are stories of natural talent discovered watching their sister’s dance class, of not fitting in due to ethnicity or sexuality, and often, a desire for Dad’s approval.
For the girls, the stories often revolve around fulfilling their mothers’ dreams or unhappy home lives and distant fathers.
Several stories center the show: Cassie (Karli Dinardo) had a brief moment in the spotlight as a featured dancer who won acclaim and went to Hollywood, where she discovered she could not act. She is now looking for a chorus job, so she can dance; the complication is that she and Zach were a couple for several years. Paul’s story cannot be easily described. It is a heart-breaking story of seeking acceptance. Other stories include the girl (Val) who realized she wasn’t getting jobs because of her looks, Diane (Mikaela Secada), whose high school acting teacher told her she would never make it, the married couple, the youngest dancer wanting his first job, and Sheila, the older, more cynical dancer who knows her time as a dancer is almost up.
For most of the show, Zach, the director, is an off-stage voice. Clifton Samuels delivers the emotion in his scenes with Cassie and with Paul. You can see him processing what Cassie says to him about why their relationship failed, and with Paul, he provides support and comfort.
Cast members who are cut from consideration must find the experience emotional. A few of the dancers are dismissed early in the show, but the others undergo the difficult audition process, discussing themselves and learning the song “One,” only to be denied a much-needed job at the end. It must remind these performers of the disappointments they have faced during endless rounds of auditions. It must be difficult to be rejected night after night, even when it is not true.
Diego Guevara is the best Paul I have ever seen. The role can be overly emotional, but Guevara delivers his story with just the right blend of emotion and stoicism. I admit that it brought tears to my eyes.
Karli DiNardo is a terrific Cassie, Zach’s former partner. “The Music and the Mirror” is Cassie’s solo as she illustrates through dance how important it is to. But Zach questions if she can tone down her individuality to become synchronized with the group.
Multiple cast members could be singled out for their creation of unique individuals.
It goes without saying that the choreography and the dancing are outstanding. Parker Esse did the principal choreography with additional choreography by Baayork Lee, a member of the original Broadway cast. It is difficult to know how much is a recreation of Michael Bennett’s original work and how much is a subtle variation.
Musical director Adam Souza does his always fine job, aided by the sound design by Jay Hilton, who is known for his outstanding work at Goodspeed. To make the stage bigger for all the dancers, the orchestra has been relocated behind the audience with the live music piped in. It worked seamlessly.
In this production, it is some of Ruggiero’s little touches that catch the eye. One example is the lighting and use of spotlights (the design is by John Lasiter), or the look Sheila (Scarlett Walker) gives Zach as she leaves the stage for the last time.
It is this attention to detail that helps the audience immediately form attachments with the cast. Even with the first cuts, you are disappointed that a favorite or two did not make it. By the end of the show, you are upset when a favorite doesn’t make the final cut.
Make an effort to see this terrific production. Tickets are available at Goodspeed.org.
This content is courtesy of Shore Publications and Zip06.com