"My Only Adolescence!!!!!!!!!!! My Pretty Adolescence!!!!!!!!!!!!! My Shitty Adolescence!!!!!!!!!!!!!!!!!!!!!!!!!"

                                If there is one good thing about having a shitty adolescence, as I have written about on here, it is that, fifty years down the road, it all begins to blur together.  You wish, as I do, of having the confidence then when the shit was dished out, but you now know it will never happen again.

                                This was one of the kernels of information I picked up during my viewing of "A Chorus Line," last Saturday, at City Center.  If I am going to see any show on my birthday (or the day before) what better choice?  It was so fortunate in timing that "A Chorus Line" was playing during my birthday week.

                                  And with originators, Baayork Lee and Bob Avian helming it, this was the most tightly choreographed production I have seen.  Tony Yazbeck,  who was Al in the 2006 Broadway revival, was a great Zach, and Robyn Hurder a superb Cassie.

                                     But, darlings, what was going on with J. Elaine Marcos, as Val?  Her character and singing was spot on, but she went up on the lyric in "Dance Ten, Look Three."  The end of the first verse is supposed to be "Tits and ass won't get you jobs/Unless they're yours.  Instead, for the first, and second verses (the verse when it should be sung) she sang, "Tits and ass can change your life/They sure changed mine."  Why?  Was I the only "A Chorus Line" aficionado who noticed.  I bet Baayork did.  I mean, everyone knows this show, how could you go up on it?

                                       Not only that, during "And," Marcos, instead of singing "tied up, and raped, at seven," sang "packed up, left home at seven."  I can understand this, to a point, but that is not what was written.  The steps and text of this show are sacred.  So, again, what was going on?

                                      Same with Leigh Zimmerman, an otherwise wonderful Sheila.  She states, at the start that she will be thirty, and she is "real glad."  Fine,  Later, in the dialogue leading up to "What I Did For Love?," she says "Well, hell, I'm forty. How many years do I have left to be a chorus cutie?"  She is supposed to say "thirty."  What was going on.

                                          Inexcusable.  And, as much as I prefer the kicking dancers vanishing, as if by magic, because "A Chorus Line" is a magical experience, I understood the idea of bringing everyone on after the finale.  It was a nice "special" touch, but it must not become a standard practice.

                                            Oh, and how I wish they had gotten Mara Davi for Maggie, the best one in the role, since the 1975 original, Kay Cole!!!!!!!!!!!!!!!!!

                                           None of this ruined the experience for me.  I had trouble walking out of City Center, because I was on such an emotional high.  Using a phrase I haven't in ages, I was "transported to theatrical realms."

                                             Few shows do that to me, anymore!!!!!!!!!!!!!!!!!!!!!!