Chris Owusu and Cast Photo by Dan Norman

Its legendary origin story dates back to the 1974 when a group of Broadway dancers got together to record their responses to questions such as what drew them into becoming a dancer, and what they would do if their body no longer allowed them to dance. Director-choreographer Michael Bennett, who had worked with many of these dancers, was invited to observe but soon took charge, grasping the potential to form these confessional anecdotes into a full-bodied musical. Working with Marvin Hamlisch (fresh from Oscar wins for The Way We Were and The Sting) as composer, Edward Kleban as lyricist, and James Kirkwood and Nicholas Dante melding the show's book from the taped stories, Bennett directed and co-choreographed with Bob Avian.

When the show opened in 1975, first Off-Broadway at the Public Theater before moving to Broadway, Bennett was only 32 years old. He had already been nominated for ten Tony Awards, winning three, before A Chorus Line. Many of the actors in the original cast were playing versions of themselves, as conveyed in the taped conversations that gave birth to the project. The show was an undisputed artistic and commercial success, but also a celebration of and for anyone connected with or aspiring to connect with, musical theatre. More broadly, it speaks to anyone who has ever made sacrifices to pursue a dream, whatever their dream, without regrets for, as A Chorus Line line's poignant lyrics tells us, "What I Did for Love."

A Chorus Line is being presented by Park Square in joint celebration of both the theatre company's and the show's fiftieth anniversaries (technically 51st for A Chorus Line, but close enough). This production boasts the award-winning choreography from that first production. To oversee the faithful reproduction of that work, Eddie Gutiérrez, a representative of the Michael Bennett estate has been on hand as co-director (with Park Square Artistic Director Stephen DiMenna) and as choreographer. Gutiérrez was trained for this role by Baayork Lee, one of A Chorus Line's original cast members (she played and was the inspiration for Connie), who has choreographed and supervised numerous productions of the show world-wide, including its 2006 revival on Broadway.

Gutiérrez had previously performed in several productions of A Chorus Line, and at least twice played the pivotal role of Paul, whose great impact on the audience comes not from his singing or even his dancing (though, played by Steven Rada, his dancing is terrific) but by the power of a lengthy, heartwrenching monolog (delivered by Rada with crushing emotion) that strikes home for anyone who has ever doubted their parents' approval. That Gutiérrez carries this experience may, in part, be why this production, more than others I have seen (this is either my 5th or 6th A Chorus Line) drew my attention even more strongly to the words spoken throughout the show than to the phenomenally choreographed and executed dance numbers.

Make no mistake, Park Square's A Chorus Line does not shortchange its audience on the dance front in the least. It satisfies on that score, but goes further, distinctively lifting up the individual personalities and experiences of each of sixteen finalists competing in an audition for eight open spots before, at the end, they are melded into one. In the climactic finale, "One," each performer willingly, even eagerly, suppresses that individuality to form a whole that is greater than the sum of its parts.

And what about those individual parts? Tyler Michaels King, who has so often stood out as a superb actor and dancer, stands out here as Zach, the choreographer putting these dancers through a grueling and unorthodox audition. Speaking to those auditioning mostly through a microphone from the rear of the theater, he is authoritative as the voice of god who holds the key to each performer's next job, calm but unyielding. Appropriately, he does not have a featured number of his own, but he does blend into the fabulous anonymity of the final product, "One."

Everyone dances with verve. I've already praised Steven Rada's performance as Paul, as he provides a rare moment among musicals when a spoken monologue, rather than a song, draws an audience ovation. Dayle Theisen as Val, whose career lifted off after a visit to a plastic surgeon, gives a foxy delivery of "Dance Ten, Looks Three," known by many as "Tits and Ass." Camryn Buelow is wonderful as Sheila, whose sarcasm and blunt sexual come-ons do nothing to hide her fear of what turning thirty will mean for her career. She movingly expresses the origin of her life as a dancer as the antidote to a miserable childhood in "At the Ballet," joined by Leighann Bibb Colin (as Bebe) and Annika Isbell (as Maggie), who share similar stories, sublimely sung and danced.

Isbell is one of several cast members at Park Square who appeared in Lyric Arts' production of A Chorus Line in fall, 2023. Isbell, repeating her role as Maggie, conveys sweetness along with hopefulness. Marley Ritchie repeats her performance as Diana, and in the years since Lyric Arts, has lifted what was a fine performance to a superb one, both in her dancing and in two featured songs–the comical presentation of painful high school memories, "Nothing," and "What I Did for Love," A Chorus Line's anthem that proclaims all the indignities, pain, and insecurity are worth it to be able to do what you love. Ritchie glows in both numbers, making Diana the beating heart of the production.

Another veteran of Lyric Arts, Nicholas Ohren, offers a swell solo delivery of "I Can Do That" as Mike, explaining in song and dance how he got started in the business. Sarah Jeune Christensen also repeats a role from the Lyric Arts show, as Kristine, a talented dancer who, alas, cannot "Sing," as she demonstrates with assistance from her dancer-husband Al, played by Cris Sanchez. Christensen and Sanchez have great chemistry as a newlywed couple hoping to get cast in the same show, and their delivery of the comical "Sing" is top drawer. Paul R. Cushman, repeating the role of Mark Anthony from the Lyric Arts run, nicely exudes boy-next-door charm meshed with searing ambition.

In other featured roles, Kyle Weiler is effective giving what amounts to a stand-up routine in explaining how he escaped from the provincial outskirts of Buffalo, New York to become the fabulous Broadway dancer we see before us. Chris Owusu is fantastic in the brief but memorable spotlight on Richie, the sole Black person in the audition, who earns a college scholarship playing basketball but doesn't know what he will do with it. Heléne Rosborough nicely squeezes comic juice out of the role of Judy.

On opening night, Emily Scinto, who plays Cassie, was out, replaced by Anna Novak. While A Chorus Line is an ensemble piece, Cassie stands out from the others as a dancer who left the chorus to take featured parts, then to seek an acting career in Hollywood. She was chosen for those featured parts by Zach himself, with whom she was in a relationship. Zach's career (the role is modeled after Bennett) was taking off in a big way, and he hoped for Cassie (modeled after Donna McKecknie, who won the Tony for best leading actress in a musical playing Cassie, and was briefly married to Bennett) to soar with him. Cassie auditioning for the chorus is the crux of one of A Chorus Line's main points, and the ensuing argument between Cassie and Zach is crucial. Cassie's dance solo, "The Music and the Mirror," is meant to offer evidence that she is, as a dancer, a cut above the others, so special that she is not meant to "fit in." The number's choreography is devised as an explosion of drive and talent that couldn't possibly be contained in the line. Novak is superb in book scenes, as Cassie argues her case with Zach. Her dancing is excellent, but I would love the chance to also see Ms. Scinto, who did a marvelous turn as Norma Cassady in Artistry's Victor/Victoria some years back, do that solo.

The production looks and sounds great. Benjamin Olsen's scenic design provides the obligatory wall of mirrors, in which we see the dancers watching themselves, creating a mesmerizing effect in numbers like "At the Ballet," the montage in "Hello Twelve, Hello Thirteen, Hello Love," and several iterations of "One" as it evolves from a piece in rehearsal, vivisected into steps and counts, into a polished pull-out-all-the-stops, gold lamé production number.

Matthew J. LeFebvre's costume designs are, up to the climactic, glittery finale, mere variations on rehearsal wear, yet each character's dress speaks to their personality. Karin Olson's lighting design works in sync with the book and the music to become an essential part of the storytelling. Sean Healy's sound design provides crystal-clear delivery of all the words and music. Music director Wesley Frye conducts sixteen musicians who bring Hamlisch's music to life, honoring the pizazz of golden age musicals, while acknowledging the headwinds of changing times.

Yes, A Chorus Line once again, in Park Square Theatre's totally winning production, draws on all the talents, skills, and ambition that go into creating musical theatre, to produce "one singular sensation." It is a unified work of brilliance in its creation, and of high-flying entertainment in execution.

A Chorus Line runs through June 14, 2026, at Park Square Theatre, 20 West Seventh Place, Saint Paul MN. For tickets and information, please visit www.parksquaretheatre.org or call 651-291-7005.

Conceived and Originally Directed and Choreographed by Michael Bennett; Book: James Kirkwood & Nicholas Dante; Music: Marvin Hamlisch; Lyrics: Edward Kleban; Original Co-Choreographer: Bob Avian; Director: Stephen DiMenna; Assistant Director/Choreographer: Eddie Gutiérrez; Music Director: Wesley Frye; Assistant Director: Jon Schumacher; Scenic Designer: Benjamin Olsen; Costume Designer: Matt LeFebvre; Lighting Designer: Karin Olson; Sound Designer: Sean Healy; Properties Design: Lee Christiansen; Assistant Scenic Designer: Clare Pearson; Stage Manager: Keara J. Lavandowska; Assistant Stage Manager: Holly Campbell.

Cast: Camryn Buelow (Sheila), Cody C. Carlson (Roy), Morgan Chang (Connie), Sarah Jeune Christenson (Kristine), Leighann Bibb Colin (Bebe), Noah Coon (Larry), Paul R. Cushman (Mark), Johanna Engebretson (Lois), James Grace (Gregory), Natalie Hanson (swing), Nathan Huberty (Don), Annika Isbell (Maggie), Max Kile (swing), Tyler Michaels King (Zach), Anna Novak (Tricia), Nicholas Ohren (Mike), Chris Owusu (Richie), Steven Rada (Paul), Marley Ritchie (Diana), Eric Romero (Butch), Heléne Rosborough (Judy), Cris Sanchez (Al), Emily Scinto (Cassie), Hanna Scotch (Vicki), Jon Michael Stiff (Tom), Dayle Theisen (Val), Kyle Weiler (Bobby), Henry Woods (Frank).