He is simultaneously directing three new companies of “A Chorus Line,” all to open within two weeks of each other - an almost all‐new Broadway company to begin playing April 26, an international touring company to open in Toronto on May 3, and a national company to begin running in San Francisco on May II. Although he choreographed that combination many months ago and the Broadway company has been performing it at the Shubert Theater since last fall, something about it has suddenly bothered him.īennett is attempting the unprecedented. It is a slight variation on the sequence he has been teaching the 60 dancers. Unself‐conscious, he faces the long, mirrored wall and does a taut and graceful step‐brush‐hop‐step‐turn. The dancers have collapsed onto chairs, sweating and panting, for a five‐minute break, and Bennett is alone, now, on the shiny, bare, black floor that serves as the stage in the vast rehearsal hall. It is a day in mid‐March, and deep in the bowels of New York's City Center, Michael Bennett, the 33‐year‐old ex‐chorus boy, has just been teaching a complicated sequence of jazz and ballet steps from “A Chorus Line” to 60 young dancers-duplicate and triplicate Cassies, Zachs, Sheilas, Vats, Pauls, Bobbys, Dianas and Company.
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