Datasets:
princeton-nlp
/
datasets-for-simcse

Dataset card Data Studio Files Community
text
stringlengths
1
2.56k
A Chorus Line is a musical with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante.
Set on the bare stage of a Broadway theater, the musical is centered around seventeen Broadway dancers auditioning for spots on a chorus line.
"A Chorus Line" provides a glimpse into the personalities of the performers and the choreographer, as they describe the events that have shaped their lives and their decisions to become dancers.
Following several workshops and an Off-Broadway production, "A Chorus Line" opened at the Shubert Theatre on Broadway July 25, 1975, directed by Michael Bennett and co-choreographed by Bennett and Bob Avian.
An unprecedented box office and critical hit, the musical received twelve Tony Award nominations and won nine, in addition to the 1976 Pulitzer Prize for Drama.
The original Broadway production ran for 6,137 performances, becoming the longest-running production in Broadway history until surpassed by "Cats" in 1997, and the longest-running Broadway musical originally produced in the US, until surpassed in 2011 by the revival of "Chicago".
It remains the seventh longest-running Broadway show ever.
"A Chorus Line"s success has spawned many successful productions worldwide.
It began a lengthy run in the West End in 1976 and was revived on Broadway in 2006, and in the West End in 2013.
The show opens in the middle of an audition for an upcoming Broadway production.
The formidable director Zach and his assistant choreographer Larry put the dancers through their paces.
Every dancer is desperate for work ("I Hope I Get It").
After the next round of cuts, 17 dancers remain.
Zach tells them he is looking for a strong dancing chorus of four boys and four girls.
He wants to learn more about them, and asks the dancers to introduce themselves.
With reluctance, the dancers reveal their pasts.
The stories generally progress chronologically from early life experiences through adulthood to the end of a career.
The first candidate, Mike, explains that he is the youngest of 12 children.
He recalls his first experience with dance, watching his sister's dance class when he was a pre-schooler ("I Can Do That").
Mike took her place one day when she refused to go to class—and he stayed.
Bobby tries to hide the unhappiness of his childhood by making jokes.
As he speaks, the other dancers have misgivings about this strange audition process and debate what they should reveal to Zach ("And..."), but since they all need the job, the session continues.
Zach is angered when he feels that the streetwise Sheila is not taking the audition seriously.
Opening up, she reveals that her mother married at a young age and her father neither loved nor cared for them.
When she was six, she realized that ballet provided relief from her unhappy family life, as did Bebe and Maggie ("At the Ballet").
The scatter-brained Kristine is tone-deaf, and her lament that she could never sing is interrupted by her husband Al finishing her phrases in tune ("Sing").
Mark, the youngest of the dancers, relates his first experiences with pictures of the female anatomy and his first wet dream, while the other dancers share memories of adolescence ("Hello Twelve, Hello Thirteen, Hello Love").
The 4'10" Connie laments the problems of being short, and Diana Morales recollects her horrible high school acting class ("Nothing").
Don remembers his first job at a nightclub and Judy reflects on her problematic childhood while some of the auditionees talk about their opinion of their parents ("Mother").
Then, Greg speaks about his discovery of his homosexuality and Richie recounts how he nearly became a kindergarten teacher ("Gimme the Ball").
Finally, the newly buxom Val explains that talent alone doesn't count for everything with casting directors, and silicone and plastic surgery can really help ("Dance: Ten; Looks: Three").
The dancers go downstairs to learn a song for the next section of the audition, but Cassie stays onstage to talk to Zach.
She is a veteran dancer who has had some notable successes as a soloist.
They have a history together: Zach had cast her in a featured part previously, and they had lived together for several years.
Zach tells Cassie that she is too good for the chorus and shouldn't be at this audition.
But she hasn't been able to find solo work and is willing to "come home" to the chorus where she can at least express her passion for dance ("The Music and the Mirror").
Zach sends her downstairs to learn the dance combination.
Zach calls Paul, who has been reluctant to share his past, on stage for a private talk, and he emotionally relives his childhood and high school experience, his early career in a drag act, coming to terms with his manhood and his homosexuality, and his parents' ultimate reaction to finding out about his lifestyle.
Paul breaks down and is comforted by Zach.
Cassie and Zach's complex relationship resurfaces during a run-through of the number created to showcase an unnamed star ("One").
Zach confronts Cassie, feeling that she is "dancing down," and they rehash what went wrong in their relationship and her career.
Zach points to the machine-like dancing of the rest of the cast—the other dancers who have all blended together, and who will probably never be recognized individually—and mockingly asks if this is what she wants.
Cassie defiantly defends the dancers: "I’d be proud to be one of them.
They’re wonderful...They’re all special.
I’d be happy to be dancing in that line.
Yes, I would..."
During a tap sequence, Paul falls and injures his knee that recently underwent surgery.
After Paul is carried off to the hospital, all at the audition stand in disbelief, realizing that their careers can also end in an instant.
Zach asks the remaining dancers what they will do when they can no longer dance.
Led by Diana, they reply that whatever happens, they will be free of regret ("What I Did for Love").
The final eight dancers are selected: Mike, Cassie, Bobby, Judy, Richie, Val, Mark, and Diana.
"One" (reprise/finale) begins with an individual bow for each of the 19 characters, their hodgepodge rehearsal clothes replaced by identical spangled gold costumes.
As each dancer joins the group, it is suddenly difficult to distinguish one from the other: ironically, each character who was an individual to the audience seems now to be an anonymous member of a neverending ensemble.
Issued by Columbia Records (PS33581) containing the following tracks:
Side One
Side Two
The Auditionees:
Cut dancers:
The musical was formed from several taped workshop sessions with Broadway dancers, known as "gypsies," including eight who eventually appeared in the original cast.
The sessions were originally hosted by dancers Michon Peacock and Tony Stevens.
The first taped session occurred at the Nickolaus Exercise Center January 26, 1974.
They hoped that they would form a professional dance company to make workshops for Broadway dancers.
Michael Bennett was invited to join the group primarily as an observer, but quickly took control of the proceedings.
Although Bennett’s involvement has been challenged, there has been no question about Kirkwood and Dante’s authorship.
In later years, Bennett's claim that "A Chorus Line" had been his brainchild resulted in not only hard feelings but a number of lawsuits as well.
During the workshop sessions, random characters would be chosen at the end for the chorus jobs based on their performance quality, resulting in genuine surprise among the cast.
However, several costumers protested this ending, mainly due to the stress of having to change random actors in time for the finale.
This resulted in the ending being cut in exchange for the same set of characters winning the slots.
Marvin Hamlisch, who wrote "A Chorus Line"s score, recalled how during the first previews, audiences seemed put off by something in the story.
This problem was solved when actress Marsha Mason told Bennett that Cassie (Donna McKechnie in the original production) should win the part in the end because she did everything right.
Bennett changed it so that Cassie would always win the part.
"A Chorus Line" opened Off Broadway at The Public Theater on April 15, 1975.
At the time, the Public did not have enough money to finance the production so it borrowed $1.6 million to produce the show.
The show was directed by Bennett and co-choreographed by Bennett and Bob Avian.
Advance word had created such a demand for tickets that the entire run sold out immediately.
Producer Joseph Papp moved the production to Broadway and on July 25, 1975, it opened at the Shubert Theatre, where it ran for 6,137 performances until April 28, 1990.
The original Broadway cast included:
In addition, Carole Schweid and John Mineo were understudies named "Barbara" and "Jarad", although they only went on covering other roles.
Tim Cassidy also was an understudy for "Bobby".
The production was nominated for 12 Tony Awards, winning nine: Best Musical, Best Musical Book, Best Score (Hamlisch and Kleban), Best Director, and Best Choreography, Best Actress (McKechnie), Best Featured Actor (Sammy Williams), Best Featured Actress (Bishop) and Best Lighting Design.
The show won the 1976 Pulitzer Prize for Drama, one of the few musicals ever to receive this honor, and the New York Drama Critics' Circle Award for Best Play of the season.
In 1976, many of the original cast went on to perform in the Los Angeles production.
Open roles were recast and the play was again reviewed as the ""New" New York Company" which included Ann Reinking, Sandahl Bergman, Christopher Chadman, Justin Ross (who would go on to appear in the film), and Barbara Luna.
When it closed, "A Chorus Line" was the longest running show in Broadway history until its record was surpassed by "Cats" in 1997.
On September 29, 1983, Bennett and 332 "A Chorus Line" veterans gathered to celebrate the musical becoming the longest-running show in Broadway history.
Up to February 19, 1990, "A Chorus Line" had generated $146 million from its Broadway gross and $277 million in total U.S. grosses and had 6.5 million Broadway attendees.
At the time, it was the second most profitable show in Broadway history after "Cats" with profits of $50 million (including ancillary income).
75% of the profits went to Papp's New York Shakespeare Festival and 25% to Bennett's Plum Productions.
Since its inception, the show's many worldwide productions, both professional and amateur, have been a major source of income for The Public Theater that Papp had founded.
U.S. and international tours were mounted in 1976, including a run in Los Angeles at the Shubert Theatre in Century City.
A London production opened in the West End at the Theatre Royal Drury Lane in 1976.
It ran for several years.
Jane Summerhays and Geraldine Gardner (aka Trudi van Doorn of the Benny Hill Shows), played Sheila in the London production.
The production won the Laurence Olivier Award as Best Musical of the Year 1976, the first year in which the awards were presented.
The original Australian production opened in Sydney at Her Majesty's Theatre in May 1977, and moved to Melbourne's Her Majesty's Theatre in January 1978.
The cast featured Peta Toppano as Diana, David Atkins as Mike, and Ross Coleman as Paul.
In 1980, under the direction of Roy Smith, the Teatro El Nacional of Buenos Aires produced a Spanish version of "A Chorus Line" lasting 10 months (and then only to make way for an already scheduled subsequent production).
In 1984, under the direction of Roy Smith with translation by Nacho Artime y Jaime Azpilicueta, the show was produced at the Tivoli Theater in Barcelona and the Monumental Theatre in Madrid Spain.
In July 1986, "A Chorus Line" was produced in Italy for the first time.
It premiered at the Nervi Festival of Dance in Genoa, followed by a five-week Italian tour.