About Chorus Line
A Chorus Line, based on a book by Kirkwood and Dante, tells the story of a group of dancers putting everything on the line as they face a life-changing Broadway audition. On an empty stage, seventeen dancers bare their souls as they vie for one of eight spots in a new show. The show’s scale lies in its emotion—each performer stepping forward to tell a deeply personal story of struggle, sacrifice, identity, and dreams. With a raw and honest structure, the musical weaves through monologues and iconic numbers like “I Hope I Get It” “At the Ballet,” “What I Did for Love,” and “One, Singular Sensation.”
What unfolds is a gripping portrait of the human spirit: its resilience, its longing to be seen, and the lengths people go to for love—not just romantic, but the kind found in passion, purpose, and the pursuit of a place to belong.
“A Chorus Line” builds on the critically acclaimed triumph of TGA’s “Into the Woods”, with staggering sold-out shows headlined by Lea Salonga, Arielle Jacobs & Eugene Domingo. Now, as the newest addition of TGA’s highly anticipated season, A Chorus Line brings a fresh yet timeless energy on the stage—an electrifying tribute to the dancers behind the dream, and a powerful continuation of TGA’s commitment to world-class Philippine productions.
From the same powerhouse team behind the unprecedented sold-out run of Into the Woods—helmed by Tony Award winners Clint Ramos and Lea Salonga—A Chorus Line promises the same level of artistic excellence and emotional impact.
Lifted from the article of McKay, W.J. (1998) entitled ‘Michael Bennett’s A Chorus Line’
From Part I
“On July 25, 1975, A Chorus Line opened on Broadway at the Shubert Theatre. It closed there on April 28, 1990 after 6,137 performances. For some time, it held the record as the longest-running musical in history.
While all shows are a result of collaboration, A Chorus Line particularly owed its success to its true creator, Michael Bennett. Never had a director choreographer been so dominant in a show’s formation. While Bennett knew that it had to have commercial audience appeal, he wanted a show that spotlighted “gypsies” (a theatrical term for chorus dancers). He wanted to honor a dancer’s life...”
“Throughout his previous musicals, Bennett created a style of choreography that remained unique to each particular show. At the top of his form with A Chorus Line, he incorporated what he called “cinematic staging.” There was constant “jump-cutting” as the audience’s attention was shifted from one figure to another.
Bennett brought things into sudden focus as in a film through stage dissolves, close-ups, montages and wipes. Equally effective, creative and dramatic was Bennett’s use of mirrors in the show. It was musical staging that went beyond anything other musicals had ever presented.
A Chorus Line began as a workshop “share” session. A group of dancers met after rehearsals for other shows to talk about their personal and professional lives. The sessions were tape recorded, written down, and a musical libretto was pieced together. Playwright/novelist James Kirkwood and former dancer Nicholas Dante assembled the book. Academy-award winner Marvin Hamlisch composed the music and the relatively unknown Edward Kleban wrote the lyrics.
Their combined work, guided closely by Bennett, resulted in a staging scheme that filled the songs and book with overlapping layers. Neil Simon was called in to do some uncredited book doctoring, adding some of the great one-liners.”
The formation of the show took place during a lengthy series of workshops that allowed Bennett’s many creative re-thinkings to develop. His methods did not always sit well with his cast, but Bennett’s determination held firm. Joseph Papp, through his New York Shakespeare Festival, became the show’s producer. He provided the essential funding, rehearsal/workshop space, and unusually generous time for the show to take shape...”
About A Chorus Line
From Part III - Acclaim
“A Chorus Line opened to almost unanimous rave reviews and ran for fifteen years. It won almost every award possible, including the Pulitzer Prize for Drama. It received nine 1976 Antoinette Perry Awards: Best Musical, Best Director of a Musical (Michael Bennett), Best Choreographer (Michael Bennett), Best Book (James Kirkwood & Nicholas Dante), Best Score (Marvin Hamlisch & Edward Kleban), Best Actress in a Musical (Donna McKechnie – Cassie), Featured Actress in a Musical (Carole Bishop – Sheila), Featured Actor in a Musical (Sammy Williams – Paul), and Lighting Designer (Tharon Musser).
While this musical about musicals focused on the lives of dancers, general audiences found that the show spoke to their individual lives and experiences. In the Playbill, the show was dedicated “to anyone who has ever danced in a chorus or marched in step… anywhere.”
However, it seemed to be professional performers and future hopefuls who were most affected by A Chorus Line. Ask almost any dancer or actor who saw it and they will tell you it provided a spark or moment of inspiration that pulled at some part of their souls. In some way, they found their own stories on that stage with all the joys and disappointments, fears, memories, and hopes…”
“A Chorus Line was the perfect combination of artistic achievement and popular appeal... As A Chorus Line ran on, Michael Bennett went on to Ballroom (1979) which had a disappointing run but brought Bennett another Tony for choreography. Then came the enormous hit Dreamgirls (1981) and yet another Tony for choreography. On September 29, 1983, A Chorus Line became the longest running Broadway show ever with performance number 3,389. For that special night, Bennett re-staged the show so that each number featured current and past members of the Broadway, touring and international casts. The highlight was the finale, with 338 dancers sharing the stage.
Michael Bennett began work on two more projects, Chess and Scandal, but never finished. He died on July 2, 1987 at his home in Tuscon, the official cause being lymphoma, an AIDS-related form of cancer. The man who was “one singular sensation” was gone at the age of 44.
On Broadway, A Chorus Line was still playing and his dances were still being performed. He had kept his illness quiet, so there were no final tributes in his final days. No bows, just a fade out. A dancer’s life.”
Originally published in 1998 by William J. McKay. Copy from Musicals101.com — The Cyber Encyclopedia of Musical Theatre, Film & Television. No copyright infringement intended. Content is shared for educational and informational purposes
Reference:
McKay, W. J. (1998). About A Chorus Line. Musicals101.com.
https://musicals101.com/chorus1.htm
A Chorus Line runs for approximately 2 hours and 30 minutes, with one intermission.
The show runs all Thursdays to Sundays from March 12, 2026 — March 29, 2026.
No Late Seating: A Chorus Line will observe a strict no latecomer policy. This is to ensure that there are no distractions for the performer or the audience.
The production recommends the show for audiences 12 years and older.
* A Chorus Line. Conceived and Originally Directed and Choreographed by Michael Bennett. Book by James Kirkwood and Nicholas Dante. Music by Marvin Hamlisch. Lyrics by Edward Kleban. Co-Choreographed by Bob Avian. A Chorus Line is presented in arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com