Elevator Thoughts (aka Tweet): A Chorus Line at The 5th Avenue Theatre is a love letter to the ensemble, the grueling beauty of the audition, and the performers who give it their all. A sleek minimalist mirror design offers brilliant new vantage points, paired perfectly with Heidi Zamora & Jason Goldsberry’s spot-on ’70s hair and costume design. Flawless high dance kicks … guys included! Closes 9/27. đźŽâś¨
See it if you’re okay with shows without a plot
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No
Mainstream Appeal: Low to medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): A group of hopeful dancers lay their hearts and talents on the line in an audition for a coveted spot in the chorus.
Synopsis from the Licensor or Theatre Company: One. Singular. Sensation. A 5, 6, 7, 8… A Chorus Line bursts back to The 5th Avenue Theatre Company’s stage in a brand new production. Packed with iconic songs, electrifying choreography, and moments of raw honesty, A Chorus Line celebrates what every Broadway dancer does for love–the sacrifice, courage, passion, and resilience it takes to follow their dreams. This groundbreaking, Pulitzer Prize-winning musical set a new standard for Broadway and remains relevant, poignant, provocative, and explosively entertaining.
Type: Musical
World Premiere: No
Several or Few Scenes: Few
Several or Few Settings/Locations: Few
Static (Stationary) or Dynamic Set: Dynamic-ish but austere
Prior Exposure/Knowledge Required: You’ll likely appreciate this more if you’re an actor or dancer
Defined Plot/Storyline: No
Live Band/Orchestra: Yes
Union Actor(s): All
Total Actor(s): Too many to count
Perceived Pace of the Show: Slow to medium speed
Was there an intermission? No
Length (Including Any Intermission): A whopping 2.25 hours without intermission!
Other Rave(s)
- Scenic and Lighting Design: Matthew Smucker’s scenic design embraced a stark, minimalist approach like Chicago, allowing the performers’ talents to remain the focal point. Given the subject matter (an audition) and scene location (a stage), extensive set design was unnecessary. Instead, the visual centerpiece was a stunning series of massive, LED-bordered mirrors (by Cory Pattak lighting designer) that dynamically rose, lowered, and tilted 45 degrees downward toward the audience. This inventive reflection offered a unique vantage point of the choreography that is rarely seen in traditional stage layout.
- Costume and Hair Design: Heidi Zamora’s costume design and Jason Goldsberry’s hair styling captured the authentic aesthetic of the 1970s. The visual landscape was packed with iconic era staples like “porn-staches,” shag cuts, artfully unkempt hair, classic leotards, retro earth tones, flamboyant Saturday Night Fever collars, hot pants, bell-bottoms, and knee-high gym socks.
- Choreography: Director/choreographer Denis Jones delivered exceptional technical quality, highlighted by striking high-kicking work … even from the guys! While the synchronicity did not quite reach Rockette-level precision, the minor variations often felt intentional for an audition setting, granting the dancers permission to project authentic human exertion. When the offstage casting director character called out subtle errors, the performers executed those exact missteps on cue. It was a delicate touch of realism that took immense skill to pull off cleanly. However, the decision to execute the primary tap sequence without tap shoes in the interest of audition realism left me yearning for the crisp, rhythmic resonance of proper tap footwear.
- Cassie: Cassie’s emotional showcase in “The Music and the Mirror” was moving. The production made striking visual use of LED-lined mirrors that illuminated in lockstep with the punches of choreography/music. Watching Sara Esty (as Cassie) dance to her own reflection turned the solo into an intimate, triumphant celebration of loving to perform … even if it is for yourself.
- Other Highlights: The iconic opening sequence, “I Hope I Get It,” immediately established the high stakes of the audition line. Alessandro J. Lopez brought effortless charisma, vocal polish, and fluid physicality to “I Can Do That.” He captured the casual confidence of his Italian character with ease. Gill Vaughn-Spencer delivered a standout vocal moments as Al, showing off an effortless, soaring tenor. Susanna Cathryn Ballenski (as Val) proved sex sells in “Dance: Ten; Looks: Three” while singing about “tits and ass.”
Rant(s)
- Book and Narrative Structure: A Chorus Line relies on an episodic, vignette-driven structure reminiscent of revues like You’re a Good Man, Charlie Brown or Songs for a New World. Without a traditional narrative drive, the continuous stream of navel-gazing character monologues began to feel monotonous and induced a sense of restlessness. Presenting the entire show in a single extended act without a story or intermission exacerbated this drag. But I can see how an intermission could be detrimental to the show as it would give the audience opportunity to leave, which I can imagine many mainstream audience members would do. Additionally, watching the line of performers stand motionless for long stretches evoked the visual image of a firing squad … I felt sorry for the actors’ physical endurance for just standing! Other than the mysterious Cassie, there was little in the script that kept me curious and gave me incentive to stay longer. Ultimately, the musical’s legendary status seems sustained primarily by theatre industry insider audience members who deeply identify with the audition grind. But its broad appeal for mainstream audiences who don’t perform on-stage remains debatable. It’s kind of like how musicals about musicals (which I generally love) tend not to be as successful in the mainstream as bigger hits.
- The Zach and Cassie Dynamic: Amidst the sprawling ensemble confessions, the narrative attempted to forge a central plot through the fraught history between the casting director Zach and Cassie. Against the backdrop of a largely plotless revue, this personal drama felt somewhat forced and out of place within the broader structure.
Other Musing(s) and Observation(s)
- Casting Director: The casting director Zach (played by Brandon O’Neill) was mostly kept offstage, interrogating the dancers over a microphone like an unseen, omnipotent god. The relentless line of questioning felt less like a professional audition on abilities and more like a high-stakes psychological evaluation conducted by a therapist unwilling to let past trauma go. Having never auditioned for a show, it made me wonder how invasively do casting directors interview performers in real life? .
Theatre Company: The 5th Ave Theatre
Venue: The 5th Ave Theatre
Venue Physical Address: 1308 5th Ave, Seattle, WA 98101
Price Range: 50 to 177 USD .
Ticket Affordability Options: The 5th Avenue Theatre often partners with organizations you’re affiliated with for discount tickets. For example, they sometimes offer a discount for my employer affiliation and my apartment complex. Rush tickets are also available the day of the performance at the box office 90 mins before the show.
Dates: Sept 15 – 27, 2026
Seating: Assigned Seats
Parking: When I don’t walk to the theatre or park on the street, I park in the paid garage at the Motif Hotel northwest of the theatre. The entrance is on 5th Ave. DO NOT park in the APA Coast Seattle Downtown Hotel garage (entrance on 6th Ave). That’s where most of the audience (and I think the subscribers) parks, so it’s a nightmare to leave. However, the APA Coast Seattle Downtown Hotel garage is the closest garage to the theatre and you can access the theatre through a tunnel if you want to avoid the elements. But, in my opinion, this benefit is not worth the time wasted leaving the garage.
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Photos: See production photos below by Michael B Maine.
Cast and Production Team: See after photos below.
Theater Leadership & Producing Partners
- Executive & Artistic Director: Bill Berry
- Managing Director: Ariel Gomez Bradler
- The 5th Avenue Theatre Company Producing Partners: Marleen and Kenny Alhadeff
Primary Creators & Creative Leadership
- Conceived, Originally Choreographed, and Directed by: Michael Bennett
- Book by: James Kirkwood & Nicholas Dante
- Music by: Marvin Hamlisch
- Lyrics by: Edward Kleban
- Originally Co-Choreographed by: Bob Avian
- Director & Choreographer: Denis Jones
- Music Director: Beth G. Tankersley
Cast & Roles
- Val: Susanna Cathryn Ballenski
- Kristine: Annalisa Brinchmann
- Bebe: Emily Ann Brooks
- Larry: Arthur Joseph Cuadros
- Cassie: Sara Esty
- Diana: Samantha Gershman
- Sheila: Tori Gresham
- Mark: Kees Hoekendijk
- Don: Nehemiah Hooks
- Judy: Lacey Jack
- Greg: Jordan King
- Connie: Yuka Kawai
- Richie: Brandon Lavar
- Mike: Alessandro J. Lopez
- Zach: Brandon O’Neill
- Paul: Kayden Oliver
- Maggie: Kayla Pecchioni
- Bobby: Connor Russell
- Al: Gill Vaughn-Spencer
- Ensemble: Krystle Armstrong, Keoni Dilay, Megan Felise Garcia, Aaron Alexander Gordon, Sapphire Goetz, Julia Kuzmich, Eddie McClary, Mackenzie Neusiok, Christian West
- Swings: Kekoa Dilay, Kenady Conforth, Peyton Winsett
- Dance Captain: Corinne Munsch
Understudies
- Sheila: Corinne Munsch
- Richie: Nehemiah Hooks
- Paul: Alessandro J. Lopez
- Bobby / Don: Aaron Alexander Gordon
- Larry / Mike: Christian West
- Greg: Eddie McClary
- Maggie / Judy: Julia Kuzmich
- Al / Mark: Keoni Dilay
- Cassie / Val: Krystle Armstrong
- Bebe / Diana: Mackenzie Neusiok
- Connie: Megan Felise Garcia
- Kristine: Sapphire Goetz
- Zach: Gill Vaughn-Spencer
Production & Creative Team
- Scenic Designer: Matthew Smucker
- Costume Designer: Heidi Zamora
- Lighting Designer: Cory Pattak
- Sound Designer: Ken Travis
- Hair/Wig & Makeup Designer: Jason Goldsberry
- Associate Director: Charlie Johnson
- Associate Music Director: Luke Raffanti
- Associate Choreographers: Corinne Munsch, John T. Wolfe
- Associate Set Designer: Julia Welch
- Associate Lighting Designer: Casey Price
- Associate Sound Designer: Liam Steckler
- Costume Design Assistant: Olivia Curry
- Technical Director: Benjamin Baird
- Costume, Wardrobe, & Hair Director: Shannin Strom
- Senior Manager of Artistic Programming: Dedra D. Woods
- Production Stage Manager: Erin B. Zatloka
- Assistant Stage Managers: Laurel Nichols, Anna Vraney
- Swing Stage Manager: JR Welden
Orchestra & Music Staff
- Conductor: Beth G. Tankersley
- Reed 1: Dane Andersen
- Reed 2: Jory Tindall
- Reed 3: Derek Smith
- Reed 4: Jay Easton
- Trumpet 1: Brad Allison
- Trumpet 2: Brian Shaw
- Trumpet 3: Walter Cano
- Trombone 1: Dan Marcus
- Trombone 2: Beserat Tafesse or Audrey Stangland
- Bass Trombone: Antonio Portela
- Percussion: Paul Hansen
- Drums: Alec Wilmart
- Keyboard 1: Dwight Beckmeyer
- Keyboard 2: Luke Raffanti
- Guitar: RL Heyer or Justin Davis
- Bass: Chris Jones
- Rehearsal Pianist: Dwight Beckmeyer
- Rehearsal Drummer: Alec Wilmart
- Keyboard Coordinator: Gabe Mangiante
- Music Assistant: Em Westman
Additional Staff
- Production Assistant: Max Zamorano
- Production Runner: Ty
- Scenic Builders: Libby Chapman, Joe Leporati, Peyton Talley
- Head Electrics Builder: Timothy Wratten
- Automation Technician: Nick Murel
- Moving Light Programmer: B Yamashita
- Interim Facilities and Logistics Manager: Jason Stofko
- Painters: Cyn Moore, Morgan Poirier
- Audio Describer: Laura Ferri
- ASL Interpreters: Laura Bietman, Naomi Blue Nieves
- DASL: Irvine Stuart
- Finale Costumes Original Design: Sarah Cubbage
Setting, Policy & Union Notes
- Setting: An Audition
- Time: 1975
- Place: A Broadway Theater
- Intermission: Performed without intermission
- Background Note: The characters portrayed in A Chorus Line are, for the most part, based on the lives and experiences of Broadway dancers.
- Understudy Policy: Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance.
- Union Designation: The actors and stage managers are members of Actors’ Equity Association (1913), the Union of Professional Actors and Stage Managers in the United States.
- Licensing: A CHORUS LINE is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC (www.concordtheatricals.com).