STUDY GUIDE

STUDY GUIDE
TABLE OF CONTENTS

CONTEXT
Creating A Chorus Line, p. 4-5
Meet the Stars, p. 6-7
An Interview with Baayork Lee, p. 8-9
One Singular Piece of Theater History, p. 10-12
Glossary, p. 13

RESOURCES & ACTIVITIES

Before the Show, p. 15
Intermission Activity, p. 16-17
After the Show, p. 18
Sources p. 19
Up Next for City Center Education p. 20-21
CONTEXT
 CREATING A CHORUS LINE By Morganne Evans

“I really want to talk about us. I think we’re all pretty interesting...and I think maybe there is a show in
there somewhere, which would be called A Chorus Line.”

In January of 1974, Michael Bennett said these words to a group of Broadway chorus dancers gathered
around a tape recorder at Nickolaus Exercise Center in Manhattan. The prompt was simple: Say your
name, where you were born, and why you started dancing. One by one, the dancers began to share
their accounts, the stories brimming with emotion. Many of the dancers knew each other, but by
the end of the night they knew more about each other’s personal stories than they could have ever
imagined. Little did they know, their stories would plant the seeds that would grow into one of the
longest-running musicals on Broadway.

Like his interviewees, Michael Bennett was well versed in the lifestyle of a Broadway dancer. At
sixteen years old, he dropped out of school to join an international touring company of West Side Story.
Upon returning to New York, his resume grew longer with credits as a performer, choreographer, and
director. He began forming connections with fellow dancers such as Baayork Lee, Donna McKechnie,
and Bob Avian, all of whom would go on to work on A Chorus Line. Through his experience, Bennett
became increasingly aware of the raw talent that existed within the chorus. He wanted to create a
project that would break that barrier and allow chorus dancers a chance to find their light and to share
their stories and talents with the world.

After compiling about twenty-four hours of taped interviews, Bennett was convinced that he could
conceive a show out of the stories the dancers told. He took the tapes and met with Joe Papp, who
had recently founded The Public Theater. After listening to the first 45 minutes of the tapes, Papp
agreed to let Bennett workshop A Chorus Line at The Public Theater.

Bennett paid the dancers $1 each in exchange for their interviews and promised to not use anyone’s
real name in the production. The group of dancers whose lives were shaping the show were asked to
come in to audition; with some of them reading for parts based on their own stories. Among those
who were cast in roles based on their individual interviews were Priscilla Lopez as Diana Morales,
Baayork Lee as Connie Wong, and Kelly Bishop as Sheila Bryant. The character Zach mirrored Michael
Bennett, with his lines in the production often mimicking the same questions that Bennett originally
posed to the dancers in January of 1974.

new york city center education context 4

 Michael Bennett and Joe Papp then got to work
assembling the creative team. Bennett would direct
and choreograph, with Bob Avian assisting him.
Nicholas Dante, another attendee of the group
interview sessions, was brought on to co-write the
book with James Kirkwood, Jr. His experiences as a
drag queen in his teen years inspired the emotionally
captivating monologue that won Sammy Williams a
Tony Award as the character Paul.
Photo: Martha Swope

In the very first read-through, the show ran for almost four hours without any music. With Joe Papp
on board as a producer, they were ready to translate the stories to music. Marvin Hamlisch had
just won an Academy Award for his composition work in Hollywood when Papp reached out to him
about working on a new musical. Against the advice of his Hollywood peers, he accepted the task of
composing the music for A Chorus Line, with Edward Kleban penning the lyrics.

The show underwent quite a few structural changes during the collaborative workshop process.
Bennett’s original concept was to forgo a set, using a straight white line across a bare stage instead.
Once the show transferred to Broadway, the set became mirrored walls that would be brought in every
night via a fly system. He claimed that it was the simplest set he has ever worked with. In the beginning
phase, Bennett wanted a new set of dancers selected at the end of each show to provoke genuine
reactions from the cast, but it was too difficult to manage costume wise. The decision was made for
the same eight characters to be cast in Zach’s production every night. With constant improvements
being made to the innovative material, the show quickly became the talk of the town.

A Chorus Line transferred from The Public Theater to The Shubert Theater in July of 1975. The
unapologetic simplicity and honesty of the show resonated with audiences all over the world, sparking
a variety of international tours and productions. A Chorus Line saved the Shubert Organization from
going under, and proved to be an early success for The Public Theater, making Michael Bennett the
highest-paid director in musical theatre history. It went on to run for 6,137 performances, making it
the longest running Broadway musical in history until 1997.

new york city center education context 5

 MEET THE CREATORS
Marvin Hamlisch (Music) started as a rehearsal pianist and grew up to be
one of two people ever to receive the five highest awards for a dramatist.
He won the 1976 Tony Award for Best Musical Score and the Pulitzer Prize
for A Chorus Line. In 1973 and 1974, Mr. Hamlisch’s work was honored with
three Academy Awards and four Grammy Awards, most of which related to
his work on the 1973 film The Way We Were, starring Barbra Streisand. For
his work on television, Mr. Hamlisch also won four Emmy Awards.

Edward Kleban (Lyrics) shared the 1976 Tony Award for Best Original
Score (as well as the Pulitzer Prize for Drama) with Mr. Hamlisch for A
Chorus Line. After Mr. Kleban’s early death from throat cancer, he left
behind a legacy of supporting the arts through the Kleban Foundation,
which has awarded millions of dollars to promising young librettists and
lyricists in musical theater, including Jason Robert Brown (Songs for a
New World, Bridges of Madison County) and Robert Lopez (Frozen, Book of
Mormon).

Collaborators in theater frequently work together multiple times, but James

Kirkwood Jr. and Nicholas Dante (Book) teamed up just for A Chorus Line.
Mr. Kirkwood had been a novelist, actor, and screenwriter, while Mr. Dante
had been a chorus line dancer himself. Mr. Dante’s story is represented in
the story of the Puerto Rican dancer Paul in A Chorus Line. The two won the
1976 Tony Award for Best Book of a Musical and the Drama Desk Award for
Outstanding Book of a Musical. They shared the Pulitzer Prize for Drama
with Mr. Kleban and Mr. Hamlisch.

Michael Bennett (Original Concept, Direction, and Choreography)

led a diverse career on Broadway that spanned over twenty-five years.
He began to dance professionally at the age of 16, and went on to
perform in productions such as Subways are for Sleeping, Here’s Love,
and Bajour. Mr. Bennett directed and choreographed numerous
productions on Broadway including Follies, Seesaw, A Chorus Line,
Ballroom, and Dreamgirls. He was honored with a total of seven Tony
Awards for his work on those productions.

new york city center education context 6

 MEET THE ARTISTS
Bob Avian (Director), a choreographer, director, and producer, who met
Michael Bennett in 1962, and went on to collaborate with him for
twenty years. He co-choreographed the original Broadway production of
A Chorus Line in 1975, and directed the 2006 revival. He has worked extensively
on Broadway and London’s West End on such well known titles as Company,
Follies, Promises, Promises, Dreamgirls, Miss Saigon, and Sunset Boulevard.

Baayork Lee (Choreographer) has led a long career as a dancer,

choreographer, and director. She made her Broadway debut in the original
1951 production of The King and I. She was only five years old at the time. She
met Michael Bennett in high school and participated in the original workshops
to develop A Chorus Line. Her story has been immortalized in the character of
Connie Wong in the show. She founded the National Asian Artists Project in
2004, and has since received numerous Lifetime Achievement awards for her
support of Asian American artistry. In 2017, she won the Isabelle Stevenson
Tony Award for her charitable work.

Tony Yazbeck (Zach) is a Broadway and Encores! veteran. Most recently seen in
Manhattan Theatre Club’s Prince of Broadway, Mr. Yazbeck was seen on the City
Center stage in the 2007 Encores! production of On The Town. Playing Gabey,
Mr. Yazbeck would reprise the role in 2014 when the revival of On The Town
came to Broadway. For his performance, he won the Astaire Award for Best
Male Dancer and was nominated for a Tony Award. He has also performed as
Al in the 2006 production of A Chorus Line and as Tulsa in the 2008 Broadway
transfer of Gypsy, which originated as part of the Encores! series at City Center.

Robyn Hurder (Cassie) returns to the City Center stage. Previously, she
was seen in the Encores! productions of Paint Your Wagon and The New
Yorkers. Ms. Hurder has appeared in a multitude of Broadway productions
including, Chicago, The Wedding Singer, Grease, and Nice Work If You Can Get
It. She starred as Cassie in the National Tour of A Chorus Line following its
Broadway revival. Most recently, Ms. Hurder originated the role of Nini in the
World Premiere of Moulin Rouge! The Musical in Boston. In 2016, she received
the Helen Hayes Award for Best Supporting Actress for her work as Lois Lane/
Bianca in The Shakespeare Theatre Company’s production of Kiss Me, Kate.

new york city center education context 7

 AN INTERVIEW WITH BAAYORK LEE
Baayork Lee, the actress who originated the role of Connie Wong in A Chorus Line, returns to City Center as a part
of the creative team for City Center’s 75th Anniversary Gala production. Sharon Counts, City Center’s Director
of Education and Community Engagement, spoke with Ms. Lee about her history with the production and how she
continues to introduce it to new audiences.

Sharon Counts: Where did you grow up? When did SC: Shortly after the Broadway opening, several
you first start performing? companies of A Chorus Line rehearsed here at City
Baayork Lee: I grew up in Chinatown in New York Center. How does it feel to be back at City Center
City. I had my first performing experience in The King with the show?
and I at the age of 5 on Broadway. BL: I am very excited to come back to City Center.
Back then, we rehearsed in the basement. We had 3
companies rehearsing at the same time. It was wild
SC: How did you get involved with the devising pro-
and crazy. Only Michael Bennett could get it done.
cess for A Chorus Line?
You had 3 companies of A Chorus Line and all their
BL: I had been Michael Bennett’s assistant and dance
covers. As a kid, I rehearsed New York City Ballet’s
captain in previous shows, so I was invited to be a part
Nutcracker at City Center. I was also a member of the
of the first and second workshop down at The Public
Milliken Breakfast Show, which always rehearsed at City
Theater. Also, Michael thought my life story would be
Center. So I am very happy to be back.
interesting for the show.

SC: You’ve continued to work on A Chorus Line

throughout your career, how do you approach each
production? How many productions have you worked
on?
BL: I have directed and choreographed more than
40 productions. I approach each production as if it
were a new piece of work. That is because with each
show, whether it is in English or a foreign language, the
actors are experiencing something they have
never gone through before. In 1975, we first had the
term “triple threat” to describe someone who could
sing, dance and act. 19 actors are responsible for the
success of each performance, bringing their own
personal stamp to the parts. They must give 200% at
all times in order to compete for the job. The audition Baayork Lee and Executive Producer John Breglio at
process for the show is very intense as we want each the meet and greet for City Center’s Gala production of
actor to bring something of himself into the role. A Chorus Line.

new york city center education context 8

 AN INTERVIEW WITH BAAYORK LEE

SC: Last year you received the Isabelle Stevenson Tony SC: Our audience ranges from life-long fans of the
Award to honor your work in theater education. Can production to first-time theatergoers. What do you
you tell us about your commitment to arts education hope audience members will take away from this re-
and the National Asian Artists Project? vival?
BL: It was quite a humbling experience to receive the BL: Hopefully audiences will have a sneak peek
award. I went back to my hometown of Chinatown, into a Broadway audition and see how hard the
New York, and started a program called Theater Club at actor/singer/dancer must work, competing with every
PS 124, Yung Wing Elementary School. I have taken ounce of sweat. Marvin Hamlisch’s music and Michael
them to the Junior Theater Festival in Atlanta, where they Bennett’s direction and choreography are iconic, they
have performed excerpts from Guys and Dolls, Beauty and will enjoy it. They will hopefully start to identify and
The Beast, Little Mermaid, Mulan, The Music Man, Annie, recognize the characters in themselves or someone
Madagascar and Aladdin in front of 5,000 students they know and get wrapped up in the stories we tell.
from all over the United States. For 9 years, the Club
has been an award-winning group, receiving awards in
Acting, Dance and Ensemble. Taking these kids, ages 9
to 11, out of the neighborhood and introducing them to
Musical Theater is most rewarding. When I hear them
discussing Phantom of the Opera’s sets and costumes,
or when they graduate and return to tell me they just
appeared in an Off-Off Broadway musical, or that they
just got into LaGuardia High School, I am truly a proud
parent. But I am most proud when a first year Theater
Club student shows me, with pride, the tote bag she got
seeing The Lion King on Broadway.

My company, the National Asian Artists Project

(NAAP), produces musicals for professional Asian Baayork Lee as Connie Wong in the original production of
artists. This October we are doing Into The Woods. With A Chorus Line. Photo: Martha Swope
every production, whether it be Oklahoma, Carousel,
Hello, Dolly! or Oliver!, we use our PS 124 kids and SC: Why does A Chorus Line continue to resonate
alumni, as well as our NAAP Broadway Community with audiences today?
Chorus. For me, it is more than a commitment to arts BL: It has been 44 years and the show still
education. It is a commitment to educating an continues to resonate with audiences, here and around
underserved community, where theater is not part of the world. We have just returned from Tokyo, Japan,
its culture. But I know, little by little, my students will where all the laughs and tears were in the same places
make arts education a permanent part of Chinatown’s that they are in New York. The storytelling, truth and
Education System, as they will become parents who know honesty speaks to everyone. I believe the message
how much they have benefited from their experience. that A Chorus Line leaves us with is love.

new york city center education context 9

 By Robertt Viaggas

NYSF/Photofest

New York City Center is unveiling a new and over a billion in sales, with nearly all
staging of A Chorus Line as part of the cele- houses booked and a parade of new produc-
bration of its 75th Anniversary Season. tions grabbing theaters within days of their
A home for artists from the worlds of dance, becoming vacant.
theater, music, and opera since 1943, the
institution has a special connection to It’s easy to forget that in 1975, when this
the musical: Michael Bennett rehearsed musical story of artists fighting for “the
three early companies – a national tour, an chance to dance for you” premiered,
international tour, and the first replacement Broadway wasn’t just sick—the Fabulous In-
Broadway cast – in its studios in spring 1976. valid was in serious trouble. Attendance was
down, receipts were down, and more and
The production is also being mounted in the more theater marquees were sporting the
midst of one of the great boom periods in sign “See a Broadway Show for the Fun of
Broadway history. The Great White Way It!” which some owners used to keep their
recently concluded another successful dark houses from looking empty.
season, accompanied by record attendance
#ChorusLineNYCC @NYCityCenter

new york city center education context 10

 A Chorus Line was born in the darkest days
of that period and proved instrumental in
waking up Times Square. A group of dancers
led by Tony Stevens and Michon Peacock,
later joined by Bennett, had gotten sick of
watching the employment pool dry up. They
got together in January 1974 with a group
of their friends and colleagues – profes-
sional dancers like themselves – to try to
initiate their own project and get work for
themselves. That urge – “Oh God, I need
this job” – became the engine of the dancer
project that became A Chorus Line.

The details of what came next are now

Broadway legend. A Chorus Line opened
at the Public Theater in April 1975 and
transferred to Broadway’s Shubert Theatre
Director/choreographer Michael Bennett in rehearsal. in July 1975, won the following year’s Best
Photo courtesy of Photofest
Musical Tony Award and Pulitzer Prize and
ran 16 years, becoming, for a time, Broad-
way’s longest running show. In addition to
“Broadway was in a very bad place,” said
being a white-hot ticket, the show became
Bob Avian, original co-choreographer of
a cultural phenomenon of a kind not seen
A Chorus Line with Michael Bennett. Avian
again until the age of Hamilton. Images of
is directing the City Center revival with
the show penetrated mass culture via maga-
original cast member Baayork Lee, winner
zine covers, TV appearances, and newspaper
of the 2017 Isabelle Stevenson Award,
stories.
recreating the original choreography. They
both remember what it was like when the
It would certainly be an exaggeration to say
neighborhood was a real-life version of the
that A Chorus Line single-handedly kicked
HBO series The Deuce, overrun with porn,
the hookers and pushers off Eighth Avenue.
drugs, and other crime.
But its success did start people in power
thinking that maybe it was worthwhile to
The ethos of that era pervades the script
chase the hookers and pushers off Eighth
of A Chorus Line; “I don’t want to hear
Avenue and create conditions for a Times
Broadway is dying because I just got here.”
Square renaissance. That there was some-
That line of dialogue may confuse today’s
thing on Broadway with a spirit, with a life,
theatergoers who see shows that run not
that was going to survive and prevail and
just for years, but for decades (The Phantom
possibly even at some point prosper.
of the Opera, Chicago), and who see the
West 40s thronged with theater fans of all
“A Chorus Line at that time was so
ages waiting to get into Hamilton, Dear Evan
groundbreaking,” Avian said. “Nobody
Hansen, and other hits.
had seen anything like it. It hit people in
their heart and their brain like no other
So, what happened in between? What
show had done.”
brought Broadway back to life?
#ChorusLineNYCC @NYCityCenter

new york city center education context 11

Avian said the positive effect of the show Above all, the show captures the essence
extended far beyond Shubert Theatre box of what is thrilling about its own art form.
office. “People who couldn’t get tickets “The show itself, in many respects, is such a
would try going to the theater down the valentine to the existence of the Broadway
block. ‘Oh, let’s go see another show, and musical,” said Encores! Artistic Director
hope it’s as good.’ That kind of energy pro- Jack Viertel. “It’s about how we make
pels other shows to do better. It brought that thing that makes audiences go crazy.
people back into the whole theater district. City Center’s Encores! series itself was
And when they finally did see our show conceived out of the same impulse that
they were so turned on by the energy and Michael felt. Even cruel and unusual people
the emotion.” like David Merrick felt it. We love that thing
that makes us feel the way A Chorus Line
Lee said, “With the success of the show we make us feel – that love sustains us all. It’s
knew that there was hope and Broadway ‘What I Did for Love.’ That’s the key song.”
was on its way up again. We changed the
tide and everyone in the industry was going Robert Viagas is the founding editor of
to work hard to bring back Broadway.” Playbill.com and author of 19 books on
theater including On the Line: The Creation
There were a lot of reasons why A Chorus of “A Chorus Line” with Baayork Lee and
Line had this effect. First of all, it was a Thommie Walsh.
really good show, with compelling dramatic
engine, attention-grabbing characters, a
completely original story, and a grand sense
of size. While the characters are not kids,
they projected a youthful energy that es-
pecially appealed to Baby Boomers, most of
whom were in their twenties at that point.
Here was a show that was sexy, dramatic,
diverse, and plainspoken to the point of
being R-rated.

These were also contemporary American

characters, and their story was not set in
Edwardian London or Bangkok or Anatevka.
As the original Playbill said: “Time: Now.
Place: Here.” The subliminal message:
Broadway was still alive, it was still about
youth, and it could still make magic.

In addition to supplying thrills for the audi-

ence, and making megabucks for producers,
A Chorus Line fulfilled its original impetus,
to provide work for dancers. It has contin-
ued to do so, not just for the original cast,
Photo courtesy of Photofest
but for thousands of dancers over the years
in its many productions—dancers who have
gone on to make their energy and talent
available to countless other shows.
#ChorusLineNYCC @NYCityCenter

new york city center education context 12

 GLOSSARY
Count of Eight: A rhythmic grouping of 8 beats used to teach and learn dance.
Zach counts the dancers in each time they begin the combination.

Pivot: When a dancer’s body turns in place vertically without traveling.

The dancers pivot in the choreography given to them by Zach.

Upstage: The area on stage farthest from the audience, toward the backstage wall.
Zach asks Sheila to move upstage in the opening number.

Downstage: The area of the stage closest to the audience.

Zach asks Val to move downstage in the opening number.

Touring Company: A group of performers that provide entertainment in various venues other than
where the company is originally based.
Tricia mentions that she has performed in a Touring company when Zach asks if she has been in any
Broadway shows.

The Red Shoes: A 1948 British film about a ballerina who joins an established ballet company and
becomes the lead dancer in a new ballet called The Red Shoes, itself based on the fairy tale “The Red
Shoes” by Hans Christian Andersen.
Sheila references The Red Shoes when describing how she her initial interest in ballet.

Extension: A dancer’s ability to raise and hold a leg extended in the air.
Paul talks about his “fabulous extension” which he developed while pretending to be Cyd Charisse, a famous
actress and dancer.

Ball Change: A quick transfer of weight from one foot to another.

Zach instructs the dancers to do a ball change in the choreography he teaches them.

Grapevine: A weaving movement; a dancer steps out to the side, crosses the other foot in front, steps
out to side again, and crosses the other foot behind.
Mark asks Zach a question regarding the grapevine step in the combination.

Plié: A bending of the knees with hips, legs, and feet turned outward.
Zach instructs the dancers to plié in the choreography he teaches them.

new york city center education context 13

RESOURCES & ACTIVITIES
 BEFORE THE SHOW
A Chorus Line was devised from the personal accounts of Broadway dancers. In this activity, students will experiment
with creating original work from personal stories and developing fictional characters.

OBJECTIVES
• Students will gain an understanding of how A Chorus Line was created.
• Students will collaborate with their peers to develop an original character based on personal stories.

BLUEPRINT BENCHMARKS FOR TEACHING AND LEARNING IN THEATER, GRADES PREK-12

• Students will be able to create/write original work in a variety of theatrical styles and forms through a
process of inventing, analyzing, and revising.

GET FAMILIAR Introduce A Chorus Line to students. It may be helpful for them to know:
• Music by Marvin Hamlisch, Lyrics by Edward Kleban, Book by James Kirkwood Jr. & Nicholas Dante.
• Premiered Off-Broadway in 1975 at The Public Theater. It moved to Broadway that same year.
• Had 6,137 performances. It continues to be the 7th longest running show in history.
• Won Tonys for Best Musical, Best Book, Best Score, Best Direction.
• Conceived and directed by Michael Bennett, and devised from interviews with real life dancers.
WRITE Seated in a circle, students should write their answers to the following prompts:
My first name is:
I was born in:
My favorite thing to do in the world is:
I’m scared of:
Once finished, students should pass their paper to the person on their right. Go around the circle and have each
student read their new text aloud.

COLLABORATE Mention that even though A Chorus Line is based on true stories, it is a work of fiction and many of
the characters featured in the show are a combination of many people’s stories. Ask students to find a partner. With
their partner, students should create a new character by blending their two sets of answers, alternating one from each
page. Together, the pairs should come up with an answer to the following questions:
If I couldn’t do what I love most anymore I would:
Challenge students to come up with a creative answer based on what they already know from their character’s previous
answers. Ask pairs to reflect on what kind of traits their character possesses. What do they sound like? How do they
stand?
SHARE Go around the circle and invite one student from each pair to share their story. Encourage students to
incorporate some of the vocal and physical traits they discussed with their partner.

REFLECT As a class, reflect on the following questions:

• What was it like for you to take real stories from your classmates and turn them into fictional
characters?
• What kind of play or musical do you imagine your character being a part of?

new york city center education activities & resources 15

 THEATER
CROSSWORD PUZZLE
ACROSS
3. A part of the theater that is not seen by the audience, including the dressing rooms,
wings, and green room
5. A group of musicians who play the music during a performance
6. Large piece of material suspended above the stage that can rise and fall
7. An individual who oversees the mounting of a theatrical production
8. An individual who has learned another role in the show in order to take over for him/her
in the event of illness
12. A period of time before performances begin where the actors and directors work on the
development of the show
13. The people who perform in a show
14. An afternoon performance of a show

DOWN
1. A passage that separates two areas of seating
2. The words that are spoken during a play
4. Individual who devises and rehearses the dance routines
9. Clothing worn by a performer to portray a specific character in a show
10. All the people who work on a show, excluding the cast
11. Piece of paper that grants an individual admission to a show

DOWN: 1. AISLE 2. DIALOGUE 4. CHOREOGRAPHER 9. COSTUME 10. CREW 11. TICKET

ACROSS: 3. BACKSTAGE 5. ORCHESTRA 6. CURTAIN 7. DIRECTOR 8. UNDERSTUDY 12. REHEARSAL 13. CAST 14. MATINEE
ANSWER KEY

new york city center education activities & resources 16

 Celebrated artists that have
performed at City Center:
Sara Bareilles, Lin-Manuel Miranda,
Kristin Chenoweth, Jonathan Groff,
Jake Gyllenhaal, Anne Hathaway,
Patti LuPone, Randy Newman,
Bernadette Peters, Diana Ross,
Vanessa Williams, and more.

NYCityCenter.org 17

new york city center education activities & resources 17

 AFTER THE SHOW
The dancers of A Chorus Line all hope that their individual talents will earn them a coveted spot in the upcoming show’s
ensemble. In this activity, students will discuss the importance of an individual’s contribution to the ensemble and
experiment with moving as one.

OBJECTIVES
• Students will understand the importance of being an ensemble member.
• Students will get a better understanding of counts in dance.

BLUEPRINT BENCHMARKS FOR TEACHING AND LEARNING IN THEATER, GRADES PREK-12

• Students will be able to contribute positively and responsibly to ensemble efforts and demonstrate an
emergent ability to collaborate with others.

WARM UP Lead students in a brief physical warm up. Afterwards, ask students to stand in a circle for the number
game. Without communicating an order, students must count to 15 as a group, starting over every time multiple
students say a number at the same time. As an added element, ask students to close their eyes or look down at the
floor.

BRAINSTORM Explain to students that much like the dancers in A Chorus Line, their class is also an ensemble.
Together brainstorm some qualities of good ensemble members. Building an ensemble takes a lot of hard work,
especially when they are expected to move as one, like the dancers do in the production.

MOVE Ask students to form a circle and take a few breaths as a group. On an exhale, instruct students to move to
the center of the space and form a tight clump, with everyone standing shoulder to shoulder. Encourage students to
pay attention to when other ensemble members move and try to move as a group. Repeat exercise a few times with
students being instructed when to move into the center of the space. Now invite students to initiate the movement
into the center of the space themselves when they have the impulse. Once a student initiates movement, all other
ensemble members must agree and move into the center of the space. Repeat exercise a few times.

BUILD Introduce the concept of flocking, a type of group movement improvisation where participants mirror each
other’s movements. Encourage students to experiment with flocking, moving as one without specifying a leader. After
a few minutes of flocking, begin calling out counts of eight as the student continue moving. Then count together as a
group. As students continue counting, call out actions for them to do together on a specific count. For example, call
out, “Jump on 5, clap on 3, get on one knee on 8” and other variations. Continue for several counts.

REFLECT As a class, reflect on the following questions:

• What were the challenges of moving as one? What made it easier?
• How did you know when it was successful? What did it feel like?
• After this exercise, are there any other qualities of a good ensemble member that you would add to the list
we created earlier?

new york city center education activities & resources 18

 SOURCES
Billy Rose Theatre Division, The New York Public Library. “Choreographer Michael Bennett directs Donna McKechnie
and others in rehearsal for the gala performance number 3,389 of the stage production A Chorus Line” The New
York Public Library Digital Collections. 1983. http://digitalcollections.nypl.org/items/9ee73d60-58e9-0134-32b4-
00505686a51c

“Dance and Movement Vocabulary”. American Dance/Drill Team. http://www.danceadts.com/edsupport/fallseason/

vocabulary.htm

“Edward Kleban.” The Official Masterworks Broadway Site, Sony Music Entertainment, masterworksbroadway.com/
artist/edward-kleban/.

Dowd, Vincent. “How A Chorus Line creator Michael Bennett breathed life back into Broadway”. BBC News, BBC,
28 March 2017, https://www.bbc.com/news/entertainment-arts-39405660.

Gelb, Barbara. “Producing- and re-producing- A Chorus Line”. The New York Times, The New York Times, 2 May
1976, https://www.nytimes.com/1976/05/02/archives/producing-and-reproducing-a-chorus-line.html.

Gussow, Mel. “Director Who Listened to Chorus Line”. The New York Times, The New York Times, 23 May, 1975.
https://www.nytimes.com/1975/05/23/archives/director-who-listened-to-chorus-line.html.

Reidel, Michael. “Why the Dancers Who Inspired A Chorus Line Sold their Stories for $1”. New York Post, New York
Post, 3 October 2015, https://nypost.com/2015/10/03/why-the-dancers-who-inspired-a-chorus-line-sold-their-
stories-for-1/.

“Robyn Hurder Theatre Profile.” Theatre Credits and Profile, www.abouttheartists.com/artists/294307-robyn-

hurder.

new york city center education activities & resources 19

UP NEXT FOR CITY CENTER EDUCATION

ENCORES! MUSICAL THEATER

PROFESSIONAL DEVELOPMENT WORKSHOP, A CHORUS LINE
Tuesday, November 13th, 2018
The day includes a master class with Allison Weller and the renowned
investigative theater troupe, The Civilians, and a musical theater workshop
led by City Center teaching artists. Educators will contextualize themes
from A Chorus Line and gain a few tools to begin introducing the material to
their students.

FRONT & CENTER WITH STEPHANIE J. BLOCK

Monday, February 4th, 2019 6:30pm
Stephanie J. Block’s (Brigadoon, Falsettos) master class, Be True to What
you Do, illuminates the techniques of a Broadway performer and offers the
audience the opportunity to hear reflections and stories from her personal
experience. Block encourages participants to find the right song for them
and to let their performance reveal their true selves.

FLAMENCO FESTIVAL
PROFESSIONAL DEVELOPMENT WORKSHOP
Friday, February 8th, 2018
This workshop is intended to provide educators an opportunity
to gain an understanding of the show, with a chance to learn from
master flamenco teaching artists. Participants will be able to develop an
understanding of the historical context of flamenco dance and gain a few
tools to begin introducing the material to their students. The workshop is
engaging and energizing as you begin to explore new material with your
students! This experience is highly recommended for all teachers participating
in City Center Education’s workshops and performance for this event.

FRONT & CENTER WITH LEA SALONGA

Monday, May 6th, 2019 6:30pm
Lea Salonga’s (Miss Saigon, Once on this Island) master class, Finding a Way
In, helps students get to the heart of their performance. Focusing on song
interpretation, Ms. Salonga’s approach zeros in on the acting behind the
singing and the story behind the lyric.

new york city center education appendix 20

 CITY CENTER ON THE MOVE

Expanding on our mission to make the best in the performing arts accessible to all, we’re launching a new program
designed to bring the extraordinary artists from our stages directly to New Yorkers in their neighborhoods. The
inaugural tour of City Center On The Move will immerse communities in world-class dance through a series of free
performances and interactive classes featuring Bronx-born choreographer, teacher, and tap dance artist Ayodele Casel.
A frequent City Center collaborator, (¡Adelante Cuba! Festival, Really Rosie, Fall for Dance Festival) and a 2017
recipient of the “Hoofer Award,” Casel will be joined by two dancers and two musicians for an exciting presentation.

In order to share Casel’s singular style with the broadest possible cross-section of New Yorkers, City Center has part-
nered with NYC Parks to select five tour stops (one in each borough) from among their 36 recreation centers. Join
us for one or all five!

BROOKLYN
Wed Apr 3, 2019 11:30am
Brownsville Recreation Center

QUEENS
Fri Apr 5, 2019 11am
Lost Battalion Hall Recreation Center

MANHATTAN
Fri Apr 12, 2019 6:30pm
Pelham Fritz Recreation Center

STATEN ISLAND
Sat Apr 13, 2019 1pm
Faber Park Recreation Center

BRONX
Thu Apr 4, 2019 6:30pm
St. Mary’s Recreation Center

For more information on any of these programs, please go to www.nycitycenter.org/education/.

new york city center education appendix 21

 NEW YORK CITY CENTER
EDUCATION VISION STATEMENT
The mission of New York City Center Education is to ignite an appreciation of the
performing arts, cultivate the creative mind and create a culture of inquiry and
exploration. Committed to drawing inspiration from works on the mainstage, New York
City Center Education strives to provide innovative, accessible arts education to schools
and communities across New York City.

ABOUT NEW YORK CITY CENTER

EDUCATION
Each year City Center reaches over 9,000 students from NYC public and private
schools, kindergarten to grade 12, through dance and musical theater performances and
in-school workshops. In-depth residencies engage young people in building technical and
expressive skills, personal voice, and collaborative spirit. Innovative workshops are crafted
for families, seniors, and other special groups that express an interest in collaborating
with City Center.

Through the Introduction to Performing Arts program, students have the opportunity
to view live performing arts at City Center. At the Workshop level, students receive two
in-school workshops in addition to attending a live performance. Residencies provide
in-depth multi-week study around one of the productions presented during the season.
During the 2018-2019 Season, City Center Education offers students the opportunity
to study dance and musical theater productions from City Center’s mainstage.

new york city center education appendix 22