This 'Chorus Line' recaptures 'essence of truth'

Every singer, dancer and actor everywhere at one time has experienced the feeling of "I Hope I Get It," the opening musical number of "A Chorus Line." That jittery uncertainty of "Will I? Won't I? What'll I do?"

In the Magic Circle production of the musical, now playing at the Roseville Theatre in Roseville, that shaky tightrope walk extends even farther than in most productions – all the way to the end.

The cast is appropriate in its age range, from young first-timers to more experienced performers. They have a ragged look at the beginning – mostly intentional – and improve as the play progresses.

Michael Bennett conceived, directed and choreographed "A Chorus Line," which opened on Broadway in 1975, after several workshops and an off-Broadway run. He interviewed many dancers – "gypsies," they're called – recording their personal stories and incorporating them, sometimes verbatim, into his highly theatrical representation of an audition for a Broadway musical.

The play fuses song, dance and drama as it spotlights several dancers who hope to be among the final eight cast in a new show.

During the development and first productions, a different group of eight was chosen each night. Before the play opened on Broadway, however, Bennett had been convinced that the same dancers had to "win" each night, said Brent Null, who directs this show.

Adhering closely to the time period and dance styles of the original, Null has returned to the last-minute, different- every-night final decision. "I wanted that … essence of truth that you see in their faces when they are chosen or not," he said.

There is natural drama in the characters' tales. Paul (Nicky Garcia in a monologue that nearly brings tears to the eyes) tells of being groped by strangers in movie theaters as a child; Val (spunky Laura Lothian) sings "Dance: Ten; Looks: Three," about how her physical appearance hindered her career until she purchased certain "enhancements"; and Sheila (Sarah Henshaw) reveals how she sought respite in dance while being forced to live out her mother's dream to be a ballerina in "At the Ballet."

Cassie (Christi Axelson) has had an intimate relationship with director Zach (the solid Steve Gold), has gone on to featured roles, but now 30, she finds herself back, asking for a job in the chorus. Choreographer Pepper Von has given the character a nice, long solo dance – a bit too long and maybe too challenging for Axelson.

The big finale, with the stage packed with two dozen dancers in sparkling gold suits (unflattering to … well, most of the dancers), brings the ambitious production to a rousing, mostly satisfying conclusion.

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