A chorus for 'Line'

NYC -- The creative team for the new staging of "A Chorus Line" met an adoring audience at the annual League of American Theatres and Producers conference on Tuesday.

The team included the late Michael Bennett’s professional partner Bob Avian, the new show's director and original co-choreographer; original composer Marvin Hamlisch; and producer John Breglio.

A sampler of their conversation:

Marvin on "What I Did for Love": “I always wanted a song that could go on the Ed Sullivan Show. Where’s that two-minute song? I always tried to get it as commercial as possible. … Everyone else said, what do we need this for? If you listen to the two CDs, you’ll hear it. It was the right song {then}, but it was the wrong treatment.

Bob: "New audiences are coming out with the adult story of the musical. The technical changes are astounding. We use mics, but you won’t see mics or wires … we put the challenge to wardrobe because {if you see the technology}, it ruins the whole illusion."

Bob, on whether he's reinventing the show: "I could do it in a circle and have them all play instruments (laughter at the obvious 'Sweeney Todd' reference), but this is Michael Bennett’s masterpiece …"

Bob: "It’s the greatest testament to what Michael did up there, to introduce that passion … "

Bob: "We were worried about {confusion with} reality shows. Reality shows are humiliating. They have no integrity. They are cruel to these artists. They do it for ratings and audience amusement. I was looking at 'Chorus Line.' This is about sincerity, this is about integrity, this is about love. This is not a dark thing; this is about love. " -- Michael Kilgore/TBPAC

That Marvin's a funny guy

NYC -- We already know that Marvin Hamlisch is a talented composer, and that his first Broadway score was for the long-running "A Chorus Line."

Who knew he was so funny?

Asked to play something for the League of American Theatres and Producers conference, Hamlisch feigned nervousness.

"I approach this with trepidation. I have no idea whether it’s a good piano or a bad piano; I’m sure it’s a good piano, but …

"{Back when we were doing 'A Chorus Line'}, when we needed money from the Shuberts, we had to audition …. I wanted to do 'What I Did for Love,' but Michael {Bennett} said, no, we need money. Do 'Tits and Ass.' So here I am, 15 years at Juilliard, doing 'Tits and Ass. '

"So there’s this piano that has been there for forever. I’m thinking, probably Irving Berlin played there. So I start quietly and then ... the whole piano falls down.

"So, I’ll play today, but not too loud, in case the same thing happens again.

"Being a person who fell in love with Broadway when I went to see the show, 'Gypsy' ... we all agree it’s got the greatest overture ever. Finally, I’ll get a chance to do an overture. So we write this overture {for 'A Chorus Line'}, and we never use it, because the show takes place at an audition."

So, after 30 years, Hamlisch finally gets to play the overture. He finishes to a standing ovation, and points good-naturedly to the still-standing piano. -- Michael Kilgore/TBPAC