The pre-Broadway engagement will run until Sept. 2. The production will take possession of Broadway's Schoenfeld Theatre on Sept. 18. Official opening is now Oct. 5. John Breglio produces.
The cast is headed by frequent Chicago star Charlotte d'Amboise and The Light in the Piazza's Michael Berresse. D'Amboise plays Cassie, the down-on-her-luck dancer created in the original production by Tony Award winner Donna McKechnie. Berresse plays Cassie's former lover Zach, who is now the director of the show for which Cassie has come to audition.
The rest of the ensemble runs as follows:
Ken Alan (as Bobby)
Brad Anderson (Don)
Natalie Cortez (Diana, who sings "Nothing," "What I Did for Love")
Mara Davi (Maggie, "At the Ballet")
Jessica Lee Goldyn (Val, "Dance: Ten; Looks: Three")
Deidre Goodwin (Sheila, "At the Ballet")
Tyler Hanes (Larry)
James T. Lane (Richie, "Gimme the Ball" section of "Hello Twelve, Hello Thirteen, Hello Love")
Paul McGill (Mark)
Heather Parcells (Judy)
Michael Paternostro (Greg)
Alisan Porter (Bebe, "At the Ballet")
Jeffrey Schecter (Mike, "I Can Do That")
Yuka Takara (Connie)
Jason Tan (Paul)
Chryssie Whitehead (Kristine, "Sing!")
Tony Yazbeck (Al, "Sing!")
The revival of A Chorus Line is directed by Bob Avian, the co-choreographer of the original production, which was helmed by the late Michael Bennett. The design team includes Robin Wagner (sets), Theoni V. Aldredge (costumes), Natasha Katz and Tharon Musser (lighting) and Acme Sound Partners (sound). A Chorus Line has a book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by the late Edward Kleban, who later became the subject of the show A Class Act.
A Chorus Line began life at Joseph Papp's Public Theater. It is about a collection of Broadway gypsies who tell their stories and reveal their fears as they go through the fraught and trying process of auditioning for the chorus of a new show. It was revolutionary not only for the long workshop process that created the show (and which birthed a workshop ethos which has persisted—for better or worse—in commercial and nonprofit theatre to this day), but for epitomizing the "concept musical," a genre which began with such Sondheim works as Company and Follies and reached its peak in Line.