THEATER REVIEW : This Version of ‘A Chorus Line’ Is More Like ‘A Coarse Line’

You may have noticed the advertisements by the San Diego Playgoers Series disavowing all connection with the George Soares and Bob Dee production of “A Chorus Line,” now showing at the San Diego Civic Theatre through Jan. 24.

One can understand their eagerness to distance themselves from this amateurish roadshow. Indeed, one can understand anyone’s eagerness to distance themselves--particularly if by some cruel twist of fate they happen to find themselves in the audience. It’s the kind of production that makes one wish the Civic Theatre would look before they book.

Here is proof positive that you can take a well-deserved hit with a Pulitzer Prize and nine Tony Awards including Best Musical under its belt--and it is still packing them in after 12 years on Broadway--and make people wonder what anyone saw in it.

How did they baste this turkey? Let me count the ways.

First, the story, as conceived and directed by the late Michael Bennett, is about an audition for a chorus line and is a tribute to the spirited and extraordinarily talented individuals who, year after year, make up the high-stepping Broadway chorus lines. For an added dose of realism, the winning score by Marvin Hamlisch and Edward Kleban and the book by James Kirkwood and Nicholas Dante was derived from interviews that Bennett conducted with his first auditioners.

To do justice to “A Chorus Line” then, one needs high-spirited and extraordinarily talented individuals. That’s the first strike in this production. Occasionally, an actor stands out, like Nina Sutherland as the sassy, aging dancer Sheila, but that’s just a trickle of water in this desert of despair.

The singers lurch uncertainly for their keys, many quavering as they change octaves to the tinny taped music. Microphones rattle in clothes as the singers dance. And as for the dancing, re-staged and choreographed by Rob Barron and John Addis, it looks as if it was redesigned with an unevenly skilled group of hoofers in mind. Like the general direction by Barron, it doesn’t disguise the performers’ deficiencies one bit.

Indeed, the one telling consistency in this show is how cheap everything looks, from the costumes, which could be easily outclassed by your local aerobics studio, to the drab lighting and abbreviated, fall-apart-in-your-hands programs.

Yes, there are occasional moments that may charm old lovers of “A Chorus Line,” for whom an occasional graceful leap or vivid thread of a melody is enough to touch off a glorious remembrance of things past.

But for those who have never seen “A Chorus Line” and can’t foresee going to New York to catch it, don’t let this be your first experience with the show. Rent the movie. It’s bad too, but this is worse.

“A CHORUS LINE” Conceived and originally choreographed and directed by Michael Bennett. Music by Marvin Hamlisch. Lyrics by Edward Kleban. Book by James Kirkwood and Nicholas Dante. Co-choreographed by Bob Avian. Original direction re-staged and choreographed by Rob Barron. Original choreography re-staged and choreographed by John Addis. At 8 p.m. Tuesday-Saturday with a Wednesday and Saturday matinee at 2 and a Sunday matinee at 3. At the San Diego Civic Theatre, 202 C St.