Stage Review - A Chorus Line (5th Avenue Theatre)
Stage Review - A Chorus Line
Presented By: 5th Avenue Theatre - Seattle, WA
Show Run: September 15 - September 27, 2026
Date Reviewed: Friday, September 16, 2026 (Opening Night)
Run Time: 2 Hours (no intermission)
Reviewed by: Breanne Jensen
“From the top, a 5-6-7-8!” are some of the most infamous lyrics to any theatre fan, dancer or dreamer out there. I can’t help but get a rush of electricity and intrigue every single time the opening song for “A Chorus Line” comes on my playlist or otherwise. The 1975 hit Broadway show follows the process of auditions for “a show within a show”, my favorite of all plots as a theatre and dance professional myself. Twenty-four dancers come and audition for (8 spots total) Director Zach and his choreographer, Larry, and as the story progresses the audience becomes judge and jury as Zach interviews and prods at the dancers to find their raw emotion and find the core of where their love for art stems from. As each artist spills their inner monologue, desires, desperations to the audience, it allows the audience to experience the heart break, pressure and yearning “show” people endure to make the art we all love so deeply. The best part of this show, lies within the origin of creation, where a group of friends, struggling to make it in the business, got together, listened to one another’s stories and wrote a smash musical about their pain and passion. Going on to be nominated for 15 Tony awards, winning 10, “A Chorus Line” is a timeless classic that connects and unites each generation through shared and relatable life experience.
One of the most beautiful things about this production is the simplicity that is met with a big reward regarding scenic design (Matthew Smucker). There aren’t giant castles, elaborate gowns or scenic back drops but rather appreciation of the beauty from the artists that create for us to envision each of their worlds/backgrounds. A brick back wall allows the stage to create an illusion that the ceiling is endless and the space is wide open for each dancer to perform freely. A giant panel of backlit mirrors fly in and out of the stage, creating one of the most breath-taking moments I have experienced (Cassie’s dance break). The mirrors give such a clean, modern, sleek feel to the space while reminding us, we are still in a work environment where an outcome is expected. When all twenty-four dancers are on stage, the mirrors generate a fun house imagery that those twenty-four could actually be sixty-four. However, the juxtaposition when a character is alone on stage with these mirrors is a pure self-reflection. Dancers, performers, politicians, teachers, etc. all rehearse in the mirror or in our minds of what we would or will say to any circumstance we may deem important. These solo character soliloquys evoke vulnerability in not only the characters, but the audience as well. An intimate moment, relating to another human being, who is self-reflecting in a literal mirror, watching us, watch them….this was truly genius.
The lighting design for this production (Cory Pattak) could likely be my favorite I have ever seen yet to date, anywhere! Each cue, change of a phrase or color, told a story and I was on the edge of my seat waiting to experience what the lights would show me next. From the “A Chorus Line” sign at the beginning of the show and the back lighting for the individual dancers feel personal. The colors during “At the Ballet” illuminating all three soloists differently, the desperation during Cassie’s dance that is created, the balance of contrast within the mirror and shiny costumes, all are complete perfection. Simple, elaborate, enticing, inviting and engaging. The costumes (designed by Heidi Zamora) are complimentary and flattering to each performer and their character, giving a variety of color and patterns/style and staying true to the original show’s design. Everyone looked gorgeous and if you aren’t following the Fifth Avenue’s costume shop online, please go give them your time and attention! They show the process of creating costumes, hats, wigs and make up (design by Jason Goldsberry) and even the costumers hand painting the cast’s finale shoes! A wonderful job to all those who worked so hard on this stunning show!
Director/choreographer, Denis Jones, high kicks the expectations of what a local and professional production can be! Seattle theatre, as Mr. Bill Berry stated on opening night, “is here and special in Seattle!”. The choreography, while slightly different in areas from the original, pays perfect homage to the beloved show and highlighted these specific performers best. Jones’ direction pushed the performers to dig deep and show that vulnerable, raw, ugly side we aren’t always so proud to see or have within ourselves. However, in his direction, Jones aligns the emotions of every character to the actual person portraying them, to make each human on stage obtainable and believable. The energy never dropped, a scene or dialogue never lagged and the cast was enjoying their time on stage with one another and that is a testament to their admirable and talented leader. Thank you for creating something so special and needed right now!
Music director and conductor, Beth Tankersley, executes superb direction in vocalists and orchestra. The two elements aligned flawlessly with one another and with the sound design by Ken Travis. The tech and talent mixed with ease and the entire production was clear to hear and understand in all aspects even while in choreography heavy songs/moments.
This cast, this cast, this cast, wow where do I even start? There is so much talent on that stage, let alone in our city and we are so fortunate to have all of you! Val (played by Susanna Cathryn Ballenski) represents the person in the industry who is told to change their looks to book the job.. and sometimes that works, like it did for her! Ballenski has sass, class, killer vocals and immense talent that matches her beauty. Kristine and Al played by Analisa Brinchmann and Gill Vaughn-Spencer, represent the married couple in the industry whom both love the craft and have different strengths when it comes to their talents. Having one of the hardest songs in the show (constantly singing off tempo or key for the song’s purpose) Brinchmann’s vocals are gorgeous, strong and she brings an adorable little sister quality to Kristine that makes her very lovable. Vaughn-Spencer shines as the doting husband who believes deeply in his wife and likely would rather her shine than himself. He brings princely vocals, polished dancing and golden retriever angelic energy to Al. Another dynamic duo is prevalent in director Zach (played by Brandon O’Neill) and choreographer Larry (played by Arthur Joseph Cuadros). Zach pushes each person and O’Neill, as always, commands any stage he is on with his presence. Larry supports these dancers but has a job to do and Cuadros performance is warm and engaging.
Four standout characters are Judy (played by Lacey Jack), Connie (played by Yuka Kawai) and Greg (played by Jordan King) and Bobby (played by Connor Russell). Each performer leaned into the character acting and each solo or quip made by them became funnier and funnier as the show went on. I love that this material allows such an array and variety of talent to be displayed even if for just small yet highly effective moment. Paul (played by Kayden Oliver) is a young man, grappling with his sexuality in the 70’s and how drag/art helped him become who he is even at the cost of other things in his life. Oliver does a lovely job bringing sincerity and gentility to Paul that sheds light on an issue we still, all this time later, shamefully put on others who are different than us. Richie (played by Brandon Lavar) is a human battery, with boundless energy and height in his jumps and leaps. Lavar embodies sunshine and draws attention naturally with his effortless nature. Diana (played by Samantha Gershman) is a powerhouse character that is unshakable in who she is and where she comes from. Gershman plays Diana cheeky, confident, inspiring and invites an environment from the audience that allows us to root for her.
My favorite song in the show is “At the Ballet” when tough, jaded, Sheila describes how escaping to the ballet allowed her to live in a different reality than her own, even for just a bit. Her trio partners mirror this sentiment for their love of the ballet and the medicinal feeling it provided them with, that they continue to chase. I think that is the beauty of this song, the lyrics perfectly describe why artists chase their dreams, for that feeling, for that escape and to be able to create it for others as well. Bebe (played by Emily Ann Brooks) is meek, enthusiastic and doe eyed in which Brooks delivers to us in a nicely gift-wrapped package. Maggie (played by Kayla Pecchioni) is the good girl next door with a song and fire in her heart, about to burst out of her chest. Pecchioni is technically stunning in her dancing and acting and when she hits the high note during the trio’s song, the bursting of Maggie’s heart, leapt out of her own chest for us all to experience with her. The little dancer in me connected in an indescribable way with her portrayal. Sheila (played by the incomparable Tori Gresham) is based off actress Kelly Bishop (aka Emily Gilmore for those of you that are fans also) and when I saw Gresham’s performance of Sheila, I felt Kelly’s sassy and hilarious spirit within her. Tori’s ability to conquer such diverse roles continues to amaze me and I could listen to that voice all day! If you know or follow the career of Gresham, you know that her resume is as impressive as it is extensive. She is currently on stage in this production, while working at the Can Can Culinary Cabaret as a dancer, sometimes pulling 18-hour days congruently with rehearsal. This is the actual definition of an artist!
Last but certainly not least is the iconic role of Cassie (dominated by Sara Esty) in her famous red leotard and skirt. Cassie is a leading lady who has been out of the game for a bit and is in need of a job. Zach, the director reminds her that she dances too big, she stands out too much, she is too talented to be in the background and to keep it moving. Cassie’s desperation and talent both appeal to Zach and Cassie becomes determined. As I mentioned before with the mirrors down, Esty bares her soul in front of the reflection with immensely powerful technical skills and emotion. Sitting in the seat watching her dance while she watched herself dance was a liberating and emotional experience. Esty is a master of performance.
As I left the audience and entered the lobby, my mom and I made conversation with a stranger whom we thought had on the most gorgeous outfits on and we came to find out she had just made her Fifth Avenue debut in this production as a swing, the previous evening (Congrats Kenady Conforth!)! Her excitement beamed as did her pride in herself and her team. She was incredibly kind and since her parents couldn’t attend her first night, my mom filled in by proxy and let her know, she did a great job and her parents are so proud. I turned around, and a cast member of a production I’m currently working on, happened to be in the lobby as well which was such a lovely addition to the end of the evening. I tell this as a reminder of what community and unity are all about. Every artist, show, medium, etc are a singular sensation, and when humans share experience through emotion, we connect. I connected with a stranger, a performer and a new friend all in the same place on the same night. The auditioners in “A Chorus Line” connected with one another’s stories and struggles on stage, just as I’m sure the cast and crew do with one another off stage and the audience sitting together does as well, whether it’s a shared laugh or cry. The Fifth Avenue is a professional venue to create and experience art, yet it never feels like a business, it always feels like a cozy, welcoming home, where all are accepted and wanted. “A Chorus Line” at the Fifth Avenue Theatre is a must not miss as usual. The dancing, professional standard and caliber of talent will leave you in awe. Chasse your way over and don’t miss it before it closes this Sunday!
A Chorus Line runs on stage at the 5th Avenue Theatre in Seattle through September 27. For more information, including ticket availability and sales, visit https://www.5thavenue.org/.
Photo credit: Michael B. Maine
