He also authored a screenplay, Fake Lady, and a musical based on the life of Al Jolson entitled Jolson Tonight.
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The final result earned him a Pulitzer Prize, a Tony Award and many other honors.
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He danced in the choruses of Applause and other Broadway shows as well as various TV shows and nightclubs while pursuing his dream of becoming a writer when Michael Bennett, a friend, called and asked him to collaborate on the first draft of the book for A Chorus Line. NICHOLAS DANTE ( Book) Real name: Conrado Morales. Other plays include dramtizations of There Must Be a Pony!, P.S. His nonfiction books include American Grotesque and Diary of a Mad Playwright: Perilous Adventures on the Road With Mary Martin and Carol Channing about the road tour of his play, Legends. Your Cat Is Dead!, Some Kind of Hero and Hit Me With a Rainbow. His novels include There Must Be a Pony!, Good Times/Bad Times, P.S. JAMES KIRKWOOD ( Book) was a Broadway and television actor as well as half of the the comedy team Kirkwood and Goodman before taking up writing. He won his seventh Tony Award for 1981’s Dreamgirls and directed its acclaimed 1987 Broadway revival. In 1979 he produced, directed and choreographed Ballroom, which was nominated for eight Tony Awards and won Mr. In 1976 he and the other authors of A Chorus Line were awarded the Pulitzer Prize for dama. A Chorus Line, which he conceived, choreographed and directed, won nine Tony Awards. In 1973 he made his debut as a dramtic director with Twigs which starred Sada Thompson. This show could transfer to Broadway tomorrow, exactly as it is, and it would play for years.MICHAEL BENNETT ( Conception, Original Director/Choreographer) choreographed Promises, Promises Coco Company Follies (which he co-directed with Harold Prince) and Seesaw (which he also wrote and directed). All of these performers and their co-stars are brilliant, every last one. (So did a couple of other numbers.) The aging cynic Sheila (Leigh Zimmerman) gets the sardonic one-liners. As Cassie, a former star performer who has fallen on hard times and is desperate for a gig, Robyn Hurder does a spectacular solo dance that, on Thursday night, stopped the show. I didn’t steal anything I’d just rearrange their furniture.”). Elaine Marcos) gets one of the most enduringly funny numbers in Broadway history, the ode to her surgical reupholstery, “Dance: Ten Looks: Three.” Maggie (Sara Esty) sings about her broken family and her escape to dancing in “At the Ballet.” Bobby (Jay Armstrong Johnson) has a hilarious monologue about life as a young psychopath. Simeone), about how she can’t sing: She talks her way through, he sings the ends of her sentences.
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One dancer, Kristine (Kate Bailey), stars in a brilliant comic duet with her husband, Al (Joseph J. And yet your likely fate is, at best, to eke out a living for maybe a dozen years before you give up and become a dance/music/drama teacher for the next generation of hopeless hopefuls. If you made it this far, to the final cut of a Broadway audition, you must have been the most spectacular talent anyone ever saw in your school, your town, your state. A Broadway stage is Talent Olympus, an aerie of gods. “We’re all special,” an actual line from the show, is one of those ghastly clichés, one that was just gaining strength in 1975, but in the context of the elites in A Chorus Line it is perfectly apt.
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and Nicholas Dante) and the songs (music by Marvin Hamlisch, lyrics by Edward Kleban) gives each of 17 hopefuls at a Broadway audition a chance to shine, to stand out from the pack, via varying amounts of soul-searching monologue, song, and dance. It’s miraculous how a combination of the book (by James Kirkwood Jr. This time I got it: Now that I’ve seen a few other musicals, A Chorus Line reaches me right in the aorta. How often do you get to relive an experience you had when you were a teen? Once in a great while, though, life gives you a mulligan, and this weekend A Chorus Line is not only being put up in midtown Manhattan again (at City Center through Sunday night) but, in accordance with zealously enforced tradition, is being staged just like the original Michael Bennett–directed production, which was the longest-running show in Broadway history when it closed in 1990 after a 15-year run.