A CHORUS LINE - Free Rain Theatre Company. The Q, Queanbeyan.

 

 

Conceived and originally directed and choreographed by Michael Bennett

Directed & choreographed by Michelle Heine

Musical Director/Conductor: Craig Johnson

Set Design: Matthew Ovenell – Costume Design: Michelle Heine

Lighting Design: Zac Harvey – Sound Design: Telia Jansen

 Acting consultant: Isaac Gordon – Producer: Anne Somes.

The Queanbeyan Performing Arts Centre 30^th September – 19^th October 2025.

Opening night performance on 2^nd October reviewed by BILL STEPHENS

The Chorus Line company performing "One"

In 1974, Broadway choreographer Michael Bennett had an idea for a musical about the lives of the performers who provide the colour and movement behind the star performers in Broadway shows.

As part of his research, Bennett invited some of his colleagues to allow him to record their stories. By the time it opened on Broadway in 1975, those interviews had been distilled into a show, embellished with an exceptional musical score by Marvin Hamlisch, to become “A Chorus Line” a musical phenomenon about the journey of a group of dancers auditioning for spots in the chorus line of a Broadway show.

Producer Anne Somes could hardly have chosen a better director for Free Rain Theatre’s production of “A Chorus Line”.

Although this is the first musical for which Michelle Heine has taken on directorial responsibility, she is no stranger to the mechanics of putting on a show. Her multi-award-winning choreography has been a highlight of many Free Rain Theatre productions, and her annual dance extravaganzas for Legs Dance Studio are legendary among dance aficionados.

Heine’s deep understanding of Bennett’s choreographic style allows her to incorporate many of his movements into her own original choreography as well as draw on her own early career experience as a dancer in multi-million-dollar extravaganzas in Sun City, South Africa to bring authenticity to her direction of the characters.

Ylaria Rogers (centre) as Cassie with Rylan Forsyth (Greg) - Jordan Kelly (Bobby)
Ashleigh Maynard (Diana)

Therefore the  stunning solo, “The Music and the Mirror”,  which she’s devised for Ylaria Rogers to perform brilliantly as Cassie, the star dancer, desperately reminding the show’s producer, Zach, of her dance skills, but instead only confirming his opinion that those very skills will prevent her from successfully blending into the chorus of his show,  is thrillingly staged and executed.  

The atmosphere of a professional audition, replete with testing audition dances, is brilliantly evoked in the extended number “I Hope I Get It”. The interaction between the auditionees entering the rehearsal room at the same time as the audience enters the theatre, provides tantalising clues as to the stories which will be revealed as the show progresses.  

Cameron Taylor (Mike) - Connor McNaught (Mark) - Jordan Kelly (Bobby) - Rylan Howard (Al) and The Chorus Line Company performing "I Hope I Get It"

Exhilarating solos like “I Can Do That” performed by Cameron Taylor as Mike, “Dance: Ten, Looks: Three” cheekily interpreted by Emma Sollis as Val, and Ashleigh Maynard’s “Nothing” performed as the cynical, Diana, all provide highlights.

While the shattering effect of the monologue delivered by Alexander Matthews in the role of gay dancer, Paul, and the apparent ease with which Heine combines brilliant costuming with clever choreography to achieve the spectacular finale “One”, all exemplify Heine’s directorial skills in respecting Bennett’s original vision while stamping the production with her own.

The Chorus Line company performing "One"

But it is not Heine’s directorial skills alone that make this production such a ‘must see’.

Heine has cleverly surrounded herself with an outstanding team of creatives, headed by Craig Johnson as her musical director and conductor.

 Having assembled a first-rate orchestra, helmed by Leisa Keen and John Yoon on keyboards, Johnson has also applied his considerable conducting skills to ensuring Marvin Hamlisch’s brilliant score was done proud.

But while the orchestral sound on opening night was magnificent, sound balance issues had soloists struggling to have Edward Kleban’s clever lyrics heard. Hopefully this will have been sorted out by the time you read this review.

Matthew Ovenell’s deceptively simple set design featuring revolving mirrors, cleverly enhanced by a stunning lighting design by Zac Harvey are particularly noteworthy elements in the success of this production.

But in the end, no matter how good the physical production appears, it is ultimately the cast on which the responsibility for the success of any production rests, and for this production, Free Rain Theatre has assembled a corker.

Michael Cooper (centre) as Zach in "A Chorus Line"

Michael Cooper is perfectly cast as the director, Zach, offering an excellent performance that achieves exactly the correct level of authority and compassion as he puts the dancers through their paces to find eight who will be his final pick.  

Ylaria Rogers’ performance is a revelation as the star dancer, Cassie, who’ s willing to restrain her exceptional skills in order to get the job. Revealing herself as a brilliant dancer and an exceptional actress, Rogers’ attention to minute but important details, whenever she is on stage, even when she’s working in the background, is fascinating to watch, making the second act altercation between Cassie and Zach a highlight of the show.

Special mention of the performance of Lachy Agett as Zac’s assistant, Larry, who hovers in the background during the auditions. His is a perceptive performance and a wonderful example of the old adage “There are no small roles only small actors”.

There are many other fine performances in this production, far too many to mention individually. However, it’s the way each person in this ensemble cast works to make their character believable, that makes this production exceptional. 

Ashleigh Nguyen (Bebe) - Laura Evans (Maggie) -Kay Liddiard (Sheila) and dancers
performing "At The Ballet"



Photos by Janelle McMenamin.