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Director Michael Bennett explained his view regarding the song's inception and placement within the show: [1] I want the audience to walk out of the theatre saying, 'Those kids shouldn't be in a chorus!' And I want people in the audience to go to other shows and think about what's really gone into making that chorus . . . It fades with them ...
A Chorus Line is a 1975 musical conceived by Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante.. Set on the bare stage of a Broadway theater, the musical is centered on seventeen Broadway dancers auditioning for spots on a chorus line.
The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values.
One (A Chorus Line song) S. Sing! (song) W. What I Did for Love This page was last edited on 31 December 2016, at 14:11 (UTC). Text is available under the Creative ...
The cast rehearses a scene for the University of Notre Dame’s film, television and theater department's production of the 1975 musical “A Chorus Line” that opens April 18 and continues ...
TheatrePeople described the musical style as "lively jazz swing", [2] while MovieMet called it "an energetic, post-Vaudevillian song-and-dance" and added it "will remind film fans of Donald O’Connor’s “Make ‘em Laugh” routine from “Singin’ in the Rain”". [3]
The single's b-side, "A Chorus Line", became one of Ultramagnetic's most popular songs and introduced new group affiliate Tim Dog. A variation of the "A Chorus Line" instrumental was used as the basis of Tim Dog's debut single, the Ced Gee-produced "Fuck Compton", [ 4 ] which became a modest hit and is credited with helping to spark the East ...
"I Hope I Get It" is a ten-minute sequence, one of the most exciting openings in all musical theatre. We are watching the beginning of the final phase of a Broadway tryout. A rehearsal piano plays as Bennett fills the stage with flying arms and legs, as groups of dancers in rehearsal clothes vanish and reappear.