It Is Important That This Particular "Chorus Line" Be Seen!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                             Until late last week, I had never heard of The Secret Theatre, located in Long Island City, Queens, at 44-02 23rd Street.  When I walked onto the premises, and saw the performance space, I could not believe they were going to pull off "A Chorus Line."  How could they?

                                Was I wrong!

                                  This particular viewing of "A Chorus Line," my 38th, to be exact, in this particular venue, was important for historical reasons. It was a 40th Anniversary tribute to the show--OK, the anniversary was last year, but hearts were in the right places--but, most importantly, it gave those of us devoted to the work, some of whom like myself, had seen the Original in 1975--but not downtown at the Newman.  I saw it when it moved to the Shubert--the chance to see what that initial experience was like.

                                   If you ever wondered what it would have been like to see the show at the Newman, and how that space created greater intimacy between audience and performer, this is the production to see.  The limitations of the space, which nevertheless gave enough space to make all of the show's cherished moments work, also, because the stage is so close to the audiences, enabled me to feel things from this production I had never felt before.

                                   Honeys, how many times have I heard, let along sung, "What I Did For Love?"  In this setting, with the performers looking right at us, young, bursting with hope and talent, the heartbreak of the song came through so powerfully I found myself crying in a way I hadn't over this, for a long time. Geena Quintos, who recreated the Bennett choreography, also performed Diana, and her solo here was lovely.  The same with Paul's monologue, exquisitely performed by Drew Michael Gardner; his being right there made the audience feel his pain more readily, while reminding oldsters such as I how important this show was for incorporating homosexuality's existence in professional theater. Hell, all theater.

                                       Likewise, "At The Ballet" remained perfection, becasue  the emotions of its trio were felt more powerfully, especially the anger of Madeline Fansler, as Sheila.  And let us not forget the desperation of  Jennifer Knox's Cassie, who danced "The Music And The Mirror" so compellingly.

                                        I left the theater shaken.  I had seen the show so many times, but never like this. Now, I know what those first night audiences at the Public experienced, what Broadway, good as it was, could not duplicate.  The intimacy of this "Chorus Line" is historic, and it deserves to be seen.  Hell, I would love to go back.  But, I urge all my girls to get out to The Secret Theater and see this iconic staging.

                                       This is a "Chorus Line" whose company understands the heart and passion of this show, and deliver it for all it is worth.

                                         Kudos to one and all, connected with it!!!!!!!!!!!!!!!!!!!!!!!!!