Willoughby Theatre Company: A Chorus Line - Review by Daniel Conway

I hate auditioning for shows. It is so awkward, and no matter how often I do it, I am still so nervous that I will make a mistake. Additionally, a thing I hate is when the audition pack says, “sing something that shows off your range” or “in the style of the show”. Sure, that might be what the pros do, but I am not a pro and do not have a repertoire of songs up my sleeve. Couple this with my friends’ stories of professional auditions, and the whole process sounds exhausting.

All of this is to say, I think Zach, the fictional director in A Chorus Line, might be a sociopath or at the very least an arsehole. A Chorus Line is a gold standard musical that takes the experiences of working performers and highlights the crushing emotional reality of searching for this dream. You spend so long getting to know each one of this large cast and their personalities as they eagerly present themselves in an honest and raw manner at the altar of showbiz. The irony here is that by the end of the show, for half of them, this doesn’t matter; they don’t get cast. But this is just how the process works. For us as the audience, we get a chance to see the performers on the stage shine, because A Chorus Line is a demanding show, and every single performer must be a triple threat. The cast and crew of Willoughby Theatre Company’s A Chorus Line are exceptional; each person on stage is dynamic and engaging, and by the end, they more than deserved the standing ovation they received on opening night.

Images by Grant Leslie Photography. 

Director Stig Bell’s production is full of humour and depth, with directorial choices that I thought were beautiful touches. You can tell that every detail was attended to, and he worked with his team spectacularly to create magic on stage. For example, set designer Neil Shotter used detritus you would expect to see in a rehearsal space—bags, bottles, steps in the corner that could be wheeled out for a scene, etc.—to add dimension to an inherently minimalist stage. Lighting design by Mathew Lutz managed to make the space feel expansive when the full ensemble started dancing, but also incredibly intimate when it was Paul or Cassie pouring their hearts out in their respective monologues.

The music, led by Musical Director Greg Larielle-Jones, is tight and the cast sounds beautiful. The montage in A Chorus Line is massive, messy and not easy, so I must mention one of the few negatives from opening night. In this section, mic issues were noticeable and frequent. This is such a shame because the work of Larielle-Jones, Assistant MD Jono Simpson and the whole cast deserves to be heard. This aside, the sound was impressive and a testament to the hard work of the whole company.

I mentioned earlier that this show is for triple threats, and never was that more apparent than watching the cast absolutely nail the choreography by Stephanie Edmonds. This show has some iconic choreography that you cannot change—it is literally in the dialogue—but the difference between a good choreographer and a great one is making sure that your cast can do it perfectly. The scenes that are less prescriptive really show off Edmonds’ eye for creating shape on stage. You can tell from the end product that Edmonds and her assistant Bridget McAllister ran a tight ship in order to set the cast up for success.

Images by Grant Leslie Photography. 

A Chorus Line is a massive show. With 19 named roles and an additional ensemble, you are spoilt for choice when it comes to picking a favourite. Is it Arnold Andrews as Larry and his sarcastic responses to his boss Zach? Could it be Emily Newberry and Benjamin Olivera, who play the adorable newlyweds Al and Kristine—so charming and lovable in “Sing”? What about Daniel Timmins as Mark, whose youthful exuberance is infectious and hilarious? Perhaps you were drawn to Hui Jiang’s Connie Wong, perfectly poised and professional with fantastic flashes of sparkling wit? Maybe you prefer the brilliant grandiosity of Kieran Booth as Gregory? Or the effortless humour and coolness that is Jeremy Zalewski’s Bobby? Could it be Mitchell Penn as Mike, whose boundless energy and dazzling skill in “I Can Do That” light up the stage from the moment he appears? Or perhaps Jimmy Chapman’s Don, whose effortless charm gives his every scene a lived-in authenticity? Or were you won over by Rosalie Brice’s Judy, whose wide-eyed enthusiasm is pitched with such warmth and comic precision that it never crosses into caricature? Or is it Naisa Lasalosi’s powerful physicality and charisma as Richie? Whoever is your choice, you are not wrong. They are all excellent.

Images by Grant Leslie Photography. 

This all being said, I would be remiss not to draw attention to some of the performances that resonated with me. Jacinta Robertson’s Sheila is outstanding—so wry and confident, but with vulnerability that makes her honestly one of the most fleshed-out characters in the show. Robertson brings the maturity needed for the role in spades and was a fan favourite. Robertson also has my favourite number, “At the Ballet”, alongside Bronte Tonks as Maggie and Isabella Palamara as Bebe. Palamara has a wonderful, sweet energy that blends with Brice so well in this number, as well as a stunning voice. Tonks has a powerhouse voice and impresses with her segment of the number. The three of them are captivating and are assisted by impeccable staging, with the revolving staircase and lighting that make them all look and sound like the stars that they are.

Piper Escott as Val was a fan favourite, full of brassy energy and confidence. Escott commands the stage, and you can tell she is having the time of her life. During her solo “Dance Ten, Looks Three”, she has the audience eating out of the palm of her hand and brought so much joy and life to the show. Susana Downes is stunning as Diana—her voice is perfect for Diana’s solos, and she has an effortless charm that makes her so easy to root for in “Nothing” and so heartbreaking in “What I Did for Love”.

Daniel Terribile and I now have a problem. How dare he make me cry! Terribile as Paul has one of the most heart-wrenching monologues you will ever hear. It is long and requires skilled performance and storytelling. In less capable hands, something this emotionally charged can feel forced, over-performed—but Terribile is not a less capable performer. Terribile is charming but with grit, and projects the hardened world-weariness that makes Paul’s monologue so captivating when he finally breaks down. Terribile clearly understands that it is always more captivating watching someone try not to cry than to release the emotion too soon, showing necessary restraint to give the audience the catharsis in that moment. Again, staging choices helped to enhance this performance, as the lights slowly turned off as Paul engrossed us in his story, creating a sense of intimacy that helps him knock it out of the park.

Zach, the director from hell, played by Caleb Hamwood, is a hard role as an actor. While Hamwood is also a fabulous dancer—as proven in the scenes that call for his involvement—the role of Zach is primarily voice acting. Speaking through a God mic, he must be a presence on the stage without being there for most of the show. He needs to react and be present without physically occupying the space. However, he is commanding when he is on stage, and his exchange with Cassie is so loaded. Zach needs to have warmth about him for the conceit of this audition to work. If Hamwood did not pull all of that off, he would read like a two-dimensional caricature of a reality TV producer, milking his cast for trauma before discarding them. This is not the case; Hamwood nails the role.

Images by Grant Leslie Photography. 

Finally, we come to Cassie, as it always does. Like Sheila, Cassie requires the actor to project maturity and confidence, but also the strength and vulnerability that come with making choices and starting over. Emily Dreyer is a force on stage and captures Cassie perfectly, holding the stage by herself during much of “The Music and the Mirror”, while captivating with her dynamic and powerful dancing.

A Chorus Line is not an easy show to pull off, because you need a cast full of stars who can maximise their time on stage, work together, while also standing out. Willoughby Theatre Company has proven once again why they are a leader in amateur theatre in Sydney with this truly must-see production.