It could be yes, it could be no, [A FEW VOICES]. Okay Step, push, step, step, touch, kick Again Step, push, step, step, strong arms! First group of girls, second group to follow. Massive Multiplayer Ensemble Number: - "I Hope I Get It" sees the main cast members going in and out of the vocal spotlight as they get their turn dancing the combination and/or angst over how much they need the job. Setting Update: The original script is set in the 1970s, when the economic recession meant that many Broadway theatres were sitting empty and performers were desperate for any work they could get, even an anonymous face in a chorus. Bebe Benzenheimer acknowledges that she'll need to adopt a stage name at some point, and Judy Turner snarks that she was born Lana Turner before admitting that she's always been Judy Turner.
Larry... (Larry takes position down right of the Group. Zach is loosely based on Michael Bennett, although he put more of his story into the various dancers. Values below 33% suggest it is just music, values between 33% and 66% suggest both music and speech (such as rap), values above 66% suggest there is only spoken word (such as a podcast).
Vicki leaves group, the rest of the group finishes the combination. No one is overly angsty about it though, and all of their experiences are based on the lives of real people. Dieses Video ist aktuell für den Songtext hinterlegt: Falsch? Sheila misses a turn and tries to get back into the combination. "A Chorus Line" opens on the initial open dance call for an upcoming Broadway show, and Zach is teaching choreography for a dance combination. Running Gag: The number of auditioning dancers who say they were inspired to dance by watching The Red Shoes (1948) - at least until Val shows up.
I think I've got it! Babies Make Everything Better: Subverted by Maggie's backstory, as told in "At the Ballet". Sheila's childhood - mother who abandoned her dancing dreams for an unhappy marriage and then pushed dancing on her daughter - came from her original actress, Kelly Bishop. Zach snarks if she's going to fake it, smile bigger. ) The third group for the tap combination consists of Maggie, Mike, Connie, and Paul. In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers James Kirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line, later joined by choreographer Michael Bennett. Irony: In the film, Kristine is played by Bob Fosse's daughter Nicole. Bury Your Gays: While he doesn't die, the one character in the show who cannot be cast due to injury (Paul) happens to injure himself almost immediately after his big monologue about growing up gay. The resulting boost to her career (and her sex life) suggests that the superiority of a large chest is a popular opinion. Richie leaps out of the formation in front of Paul. Paul: Who am I anyway? Cast Me rather than Obey, but this sums up Val's character. All I know how to do is to point my toes and leap! Character Shilling: "One, " the musical's closing number, further insults the dancers and their talent by telling the audience to ignore them and focus on the (unseen) star of the show.
And let that be the reasoning. How could I do a thing like Now I'll never make it! Step-kick-kick-leap-kick-touch - AGAIN! It could be his, it could be mine. Wide-Eyed Idealist: At 20, Mark is the youngest of the seventeen dancers to make the final audition, and he is very eager to please, telling Zach that "if I get this job, I'll work really hard! A few voices: My unemployment is gone. Speaking) Okay, first group. After one of them faces a possible career-ending injury, everyone confronts the question: what does it mean to them? Connie admits that tap is not her strong suit, and her performance of the combination is appropriately - and comically - bad. Lyrics powered by News. Time Marches On: In "Dance Ten, Looks Three, " Val sings about getting some plastic surgery while she's on unemployment (as her looks are the reason she's not getting jobs, according to her).
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