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Changed line(s) 57 (click to see context) from:
* JustTheWayYouAre: * Averted ''hard''. Val advises to ''definitely'' improve themselves with plastic surgery ("Keep the best of you, do the rest of you") in the song "Dance: Ten, Looks: Three". Of course, in this case, it's purely economic - pretty, busty dancers get work. "Flat and sassy" dancers don't.
to:
* JustTheWayYouAre: * Averted ''hard''. Val advises to ''definitely'' improve themselves with plastic surgery ("Keep the best of you, do the rest of you") in the song "Dance: Ten, Looks: Three". Of course, in this case, it's purely economic - pretty, busty dancers get work. "Flat and sassy" dancers don't.
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* JustTheWayYouAre: * Averted ''hard''. Val advises to ''definitely'' improve themselves with plastic surgery ("Keep the best of you, do the rest of you") in the song "Dance: Ten, Looks: Three". Of course, in this case, it's purely economic - pretty, busty dancers get work. "Flat and sassy" dancers don't.
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Changed line(s) 33 (click to see context) from:
* CruelMercy: In the film adaption, Zack screams at an obviously poor dancer in way over her head to get out. She leaves crying, but honestly, she wasn't listening to his instructions and maybe she will reconsider a career in something she's hopeless in.
to:
* CruelMercy: In the film adaption, adaptation, Zack screams at an obviously poor dancer in way over her head to get out. She leaves crying, but honestly, she wasn't listening to his instructions and maybe she will reconsider a career in something she's hopeless in.
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Changed line(s) 73 (click to see context) from:
* WhatMeasureIsAMook / LowerDecksEpisode: The musical theatre variety. The chorus line of a musical are anonymous, less-skilled dancers who are generally there [[MoneyDearBoy for the money]]. ''A Chorus Line'' examines the lives of these people; explored further in the film adaptation when Cassie, a genuinely talented dancer, auditions - Zack is aghast that she would stoop that low (Cassie doesn't care, she needs the money.) The point is hammered home in the "One" finale, when the original dancers are joined by dozens of identical versions of themselves.
to:
* WhatMeasureIsAMook / LowerDecksEpisode: LowerDeckEpisode: The musical theatre variety. The chorus line of a musical are anonymous, less-skilled dancers who are generally there [[MoneyDearBoy for the money]]. ''A Chorus Line'' examines the lives of these people; explored further in the film adaptation when Cassie, a genuinely talented dancer, auditions - Zack is aghast that she would stoop that low (Cassie doesn't care, she needs the money.) The point is hammered home in the "One" finale, when the original dancers are joined by dozens of identical versions of themselves.
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* IWantSong: From the film adaptation, "Let Me Dance For You".
Deleted line(s) 56 (click to see context) :
* IWantSong: From the film adaptation, "Let Me Dance For You".
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* WhatMeasureIsAMook / LowerDecksEpisode: The musical theatre variety. The chorus line of a musical are anonymous, less-skilled dancers who are generally there [[MoneyDearBoy for the money]]. ''A Chorus Line'' examines the lives of these people; explored further in the film adaptation when Cassie, a genuinely talented dancer, auditions - Zack is aghast that she would stoop that low (Cassie doesn't care, she needs the money.) The point is hammered home in the "One" finale, when the original dancers are joined by dozens of identical versions of themselves.
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Changed line(s) 24 (click to see context) from:
* AwardBaitSong: From the film adaptation, "Surprise, Surprise", which many fans of the musical despised because it cut out "Hello Twelve, Hello Thirteen", with some ''really'' dumb lyrics.
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* AwardBaitSong: From the film adaptation, "Surprise, Surprise", which many fans of the musical despised because it cut out "Hello Twelve, Hello Thirteen", with some ''really'' dumb lyrics. (And yes, it earned an AcademyAward nomination.)
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Changed line(s) 58 (click to see context) from:
* MassiveMultiplayerEnsembleNumber: "I Hope I Get It" and the montage. Actually, plenty of the musical ''is'' this.
to:
* MassiveMultiplayerEnsembleNumber: "I Hope I Get It" and the montage. Actually, plenty Plenty of the musical ''is'' this.this.
** "I Hope I Get It" and the montage.
** The final version of "One", especially in the film adaptation when over a ''hundred'' identically clad dancers do the number.
** "I Hope I Get It" and the montage.
** The final version of "One", especially in the film adaptation when over a ''hundred'' identically clad dancers do the number.
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* CruelMercy: In the film adaption, Zack screams at an obviously poor dancer in way over her head to get out. She leaves crying, but honestly, she wasn't listening to his instructions and maybe she will reconsider a career in something she's hopeless in.
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* RealitySubtext: "The Wizard on Park and 73rd" was indeed a world famous plastic surgeon, and yes, the musical gave him a ColbertBump. The musical itself was based on an acting class, with the actors turned into dancers for the production.
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* AwardBaitSong: From the film adaptation, "Surprise, Surprise", which many fans of the musical despised because it cut out "Hello Twelve, Hello Thirteen", with some ''really'' dumb lyrics.
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* IWantSong: From the film adaptation, "Let Me Dance For You".
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Changed line(s) 54 (click to see context) from:
* LongRunners: This was the longest-running Broadway musical for some time.
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* LongRunners: This was the longest-running Broadway musical for some time.time, beaten by ''Theatre/{{Cats}}''.
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Changed line(s) 52 (click to see context) from:
* IHaveBreastsYouMustObey: Val. Or rather, Cast Me.
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* IHaveBreastsYouMustObey: IHaveBoobsYouMustObey: Val. Or rather, Cast Me.
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* IHaveBreastsYouMustObey: Val. Or rather, Cast Me.
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* CampGay: All but one of the dancers in the stage version are openly gay; in the film, two are straight.
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Changed line(s) 16 (click to see context) from:
--> "[[CatchPhrase Tits! When am I gonna grow tits]]?"
to:
-->'''Connie:''' I'd settle for just ''one'' of yours.
-->'''Val:''' Well, go out and ''buy'' them!
** From "Hello Twelve, Hello Thirteen":
---> "[[CatchPhrase Tits! When am I gonna grow tits]]?"
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* NonAnswer: The director asks the cast what they would do if, one day, they could no longer dance. Would they have anything at all to fall back on? They don't answer, instead they sing "What I Did For Love," about moving towards tomorrow without regret or pain, which is a great song, but doesn't answer the question.
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Changed line(s) 22 (click to see context) from:
* BittersweetEnding: It's between this and a DownerEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business. The chosen dancers are all dressed in identical costumes for the final number, merely back-up for the main character that we never see.
to:
* BittersweetEnding: It's between this and a DownerEnding: One of the dancers injures his knee, with a 50-50 chance of ever being able to dance again. Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business. The chosen dancers are all dressed in identical costumes for the final number, merely back-up for the main character that we never see.
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* HeightAngst: Connie suffers from this:
--> Connie: ''Four foot ten, four foot ten''
--> ''That's the story of my life''
--> ''I remember when everybody was my size''
--> Boy, was that great! But then everybody started moving up, and there I was, stuck at
--> ''Four foot ten, four foot ten''
--> But I kept hoping and praying...
--> ''I used to hang from a parallel bar by the hour''
--> ''Hoping I'd stretch''
--> ''Just an inch more...''
--> Connie: ''Four foot ten, four foot ten''
--> ''That's the story of my life''
--> ''I remember when everybody was my size''
--> Boy, was that great! But then everybody started moving up, and there I was, stuck at
--> ''Four foot ten, four foot ten''
--> But I kept hoping and praying...
--> ''I used to hang from a parallel bar by the hour''
--> ''Hoping I'd stretch''
--> ''Just an inch more...''
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Changed line(s) 22 (click to see context) from:
* BittersweetEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business. The chosen dancers are all dressed in identical costumes for the final number, merely back-up for the main character.
to:
* BittersweetEnding: It's between this and a DownerEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business. The chosen dancers are all dressed in identical costumes for the final number, merely back-up for the main character.character that we never see.
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Changed line(s) 30 (click to see context) from:
* EvolvingMusic: Judy Turner's lyrics in "And..." can differ in at least three different ways, depending on the particular dancer's height and weight.
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* EvolvingMusic: Judy Turner's lyrics in "And..." can differ in at least three different ways, depending on the particular dancer's height and weight.weight.
** Connie, who is usually but not always Asian, describes her first professional role as a five-year-old in ''The King and I'' or summer stock depending on the actress' ethnicity.
** Connie, who is usually but not always Asian, describes her first professional role as a five-year-old in ''The King and I'' or summer stock depending on the actress' ethnicity.
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Changed line(s) 22 (click to see context) from:
* BittersweetEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business.
to:
* BittersweetEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business. The chosen dancers are all dressed in identical costumes for the final number, merely back-up for the main character.
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Changed line(s) 6,7 (click to see context) from:
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers Creator/JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded what was said. [[ForegoneConclusion This was the result.]]
to:
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers Creator/JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded tape-recorded what was said. [[ForegoneConclusion This was the result.]]
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They all reunite on stage for the final number, [[BittersweetEnding for which each preformer is dressed identicaly, removing all the individuality we learned about them through the production.]]
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They all reunite on stage for the final number, [[BittersweetEnding for which each preformer performer is dressed identicaly, identically, removing all the individuality we learned about them through the production.]]
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* ShapedLikeItself: From "One":
-->"She walks into a room and you know she's uncommonly rare, very unique."
-->"She walks into a room and you know she's uncommonly rare, very unique."
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Changed line(s) 6,7 (click to see context) from:
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded what was said. [[ForegoneConclusion This was the result.]]
to:
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers JamesKirkwood, Creator/JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded what was said. [[ForegoneConclusion This was the result.]]
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* ChristmasCake: Sheila's father told her mother she was one, despite her only being 22.
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* SnarkKnight: Bobby.
-->"...but then I realized to commit suicide in Buffalo is redundant."
-->"...but then I realized to commit suicide in Buffalo is redundant."
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Changed line(s) 10 (click to see context) from:
They all reunite on stage for the final number, a triumphant and delightful song in praise of the "One" singular sensation.
to:
They all reunite on stage for the final number, a triumphant and delightful song in praise of [[BittersweetEnding for which each preformer is dressed identicaly, removing all the "One" singular sensation.individuality we learned about them through the production.]]
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making correction
Changed line(s) 28 (click to see context) from:
* EvolvingMusic: Judy Turner's lyrics in "Hello Twelve, Hello Thirteen" can differ in at least three different ways, depending on the particular dancer's height and weight.
to:
* EvolvingMusic: Judy Turner's lyrics in "Hello Twelve, Hello Thirteen" "And..." can differ in at least three different ways, depending on the particular dancer's height and weight.
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Changed line(s) 10 (click to see context) from:
They all reunite on stage for the final number, a [[SarcasmMode triumphant and delightful song]] in praise of the "One" singular sensation.
to:
They all reunite on stage for the final number, a [[SarcasmMode triumphant and delightful song]] song in praise of the "One" singular sensation.
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->''God, I hope I get it.''
->''I hope I get it.''
->''How many people does he need?''
->-- From the OpeningChorus number.
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded what was said. [[ForegoneConclusion This was the result.]]
In this musical, the lives of many dancers converge on stage as they audition for a big musical. They do their best to impress the director, Zach, and hope they get the job. However, once they're down to seventeen, Zach makes a surprising request: he asks the dancers to tell their names, ages, and a little bit of their BackStory - where they come from and why they dance. Ranging from hilarious to heartbreaking, they tell their stories one by one. After one of them faces a possible career-ending injury, everyone confronts the question: what does it mean to them? In the end, eight are chosen.
They all reunite on stage for the final number, a [[SarcasmMode triumphant and delightful song]] in praise of the "One" singular sensation.
----
!!This Show features examples of:
* ACupAngst: Val, as told in her number, "Dance: Ten; Looks: Three."
--> "[[CatchPhrase Tits! When am I gonna grow tits]]?"
* AllMusicalsAreAdaptations: One of the few aversions: the story and songs were completely new.
* AmbiguouslyGay: Bobby.
** CampGay: Paul and Greg.
* BackStory: The point is to give the anonymous chorus backgrounds, stories, and voices of their own - and it was done by giving them the stories of the original actors.
* BabiesMakeEverythingBetter: "... [[SubvertedTrope I was born to save their marriage, but when my father picked my mother up from the hospital, he said]] '[[DisappearedDad Well, I thought this was going to help, but I guess it's not.]]'"
* BittersweetEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business.
* BlessedWithSuck: All of these characters have phenomenal skill. It's a shame that one day they'll have to stop doing the only thing they know how to do, and what they love, because their bodies won't be able to handle it anymore.
* ComingOfAgeStory: Seventeen in all!
* ComingOutStory: Paul and Greg.
* DistantFinale: Okay, maybe a few months in the future finale, but still.
* DysfunctionJunction: Aside from the fact that they've chosen a job which by its very nature means they have all experienced unemployment, poverty, rejection and possibly injury, many of the dancers have traumatic backstories, including absent, estranged or disapproving parents, homophobia, sexual molestation, the death of family members, and bullying. No one is overly angsty about it though, and all of their experiences are based on the lives of real people.
* TheElevenOClockNumber: "What I Did For Love."
* EvolvingMusic: Judy Turner's lyrics in "Hello Twelve, Hello Thirteen" can differ in at least three different ways, depending on the particular dancer's height and weight.
* GirlNextDoor: Maggie, Bebe.
* GrowingUpSucks: "Hello Twelve, Hello Thirteen," and a more direct example, "At the Ballet".
* HollywoodToneDeaf: Kristine, as demonstrated in her song "Sing!"
** Although true for a number of the replacement actresses, the original Kristine, Renee Baughman, was genuinely unable to stay on key.
** Ironically, on the original cast recording, Kristine's husband Al is pretty out of tune for most of the song.
* InformedAttractiveness: Bebe
* LongRunners: This was the longest-running Broadway musical for some time.
* MassiveMultiplayerEnsembleNumber: "I Hope I Get It" and the montage. Actually, plenty of the musical ''is'' this.
* MinskyPickup: The show starts with this.
* MovieBonusSong: 'Surprise, Surprise' (AcademyAward nominated), and 'Let me dance for you.'
* OlderThanTheyLook: [[spoiler: Connie.]]
* RefrainFromAssuming: Val's number was originally called 'Tits and Ass,' but was re-titled after the first line in the song to keep audiences from getting the joke. (In high school productions, the number is redubbed "This and That.")
* RomanAClef: All of the characters are based on recorded interviews with real dancers. Some of the dancers, like Renee Baughman and Priscilla Lopez, were eventually cast as "themselves." Maggie's story actually belongs to Donna [=McKechnie=] (the original Cassie), while Paul's story was originally co-author Nicholas Dante's, and so forth.
* SadistTeacher: Diana Morales tells the story of one from her drama school days in her number, "Nothing."
----
->''I hope I get it.''
->''How many people does he need?''
->-- From the OpeningChorus number.
In 1975, composer Marvin Hamlisch, lyricist Edward Kleban, and writers JamesKirkwood, Jr. and Nicholas Dante decided to collaborate on a musical about the lives of those folks on the Broadway chorus line. They gathered a bunch of their friends in acting and dancing together for a long night of conversation (and wine) and taperecorded what was said. [[ForegoneConclusion This was the result.]]
In this musical, the lives of many dancers converge on stage as they audition for a big musical. They do their best to impress the director, Zach, and hope they get the job. However, once they're down to seventeen, Zach makes a surprising request: he asks the dancers to tell their names, ages, and a little bit of their BackStory - where they come from and why they dance. Ranging from hilarious to heartbreaking, they tell their stories one by one. After one of them faces a possible career-ending injury, everyone confronts the question: what does it mean to them? In the end, eight are chosen.
They all reunite on stage for the final number, a [[SarcasmMode triumphant and delightful song]] in praise of the "One" singular sensation.
----
!!This Show features examples of:
* ACupAngst: Val, as told in her number, "Dance: Ten; Looks: Three."
--> "[[CatchPhrase Tits! When am I gonna grow tits]]?"
* AllMusicalsAreAdaptations: One of the few aversions: the story and songs were completely new.
* AmbiguouslyGay: Bobby.
** CampGay: Paul and Greg.
* BackStory: The point is to give the anonymous chorus backgrounds, stories, and voices of their own - and it was done by giving them the stories of the original actors.
* BabiesMakeEverythingBetter: "... [[SubvertedTrope I was born to save their marriage, but when my father picked my mother up from the hospital, he said]] '[[DisappearedDad Well, I thought this was going to help, but I guess it's not.]]'"
* BittersweetEnding: Only some of the dancers will be accepted into the chorus line; the others have to go. That's the reality of show business.
* BlessedWithSuck: All of these characters have phenomenal skill. It's a shame that one day they'll have to stop doing the only thing they know how to do, and what they love, because their bodies won't be able to handle it anymore.
* ComingOfAgeStory: Seventeen in all!
* ComingOutStory: Paul and Greg.
* DistantFinale: Okay, maybe a few months in the future finale, but still.
* DysfunctionJunction: Aside from the fact that they've chosen a job which by its very nature means they have all experienced unemployment, poverty, rejection and possibly injury, many of the dancers have traumatic backstories, including absent, estranged or disapproving parents, homophobia, sexual molestation, the death of family members, and bullying. No one is overly angsty about it though, and all of their experiences are based on the lives of real people.
* TheElevenOClockNumber: "What I Did For Love."
* EvolvingMusic: Judy Turner's lyrics in "Hello Twelve, Hello Thirteen" can differ in at least three different ways, depending on the particular dancer's height and weight.
* GirlNextDoor: Maggie, Bebe.
* GrowingUpSucks: "Hello Twelve, Hello Thirteen," and a more direct example, "At the Ballet".
* HollywoodToneDeaf: Kristine, as demonstrated in her song "Sing!"
** Although true for a number of the replacement actresses, the original Kristine, Renee Baughman, was genuinely unable to stay on key.
** Ironically, on the original cast recording, Kristine's husband Al is pretty out of tune for most of the song.
* InformedAttractiveness: Bebe
* LongRunners: This was the longest-running Broadway musical for some time.
* MassiveMultiplayerEnsembleNumber: "I Hope I Get It" and the montage. Actually, plenty of the musical ''is'' this.
* MinskyPickup: The show starts with this.
* MovieBonusSong: 'Surprise, Surprise' (AcademyAward nominated), and 'Let me dance for you.'
* OlderThanTheyLook: [[spoiler: Connie.]]
* RefrainFromAssuming: Val's number was originally called 'Tits and Ass,' but was re-titled after the first line in the song to keep audiences from getting the joke. (In high school productions, the number is redubbed "This and That.")
* RomanAClef: All of the characters are based on recorded interviews with real dancers. Some of the dancers, like Renee Baughman and Priscilla Lopez, were eventually cast as "themselves." Maggie's story actually belongs to Donna [=McKechnie=] (the original Cassie), while Paul's story was originally co-author Nicholas Dante's, and so forth.
* SadistTeacher: Diana Morales tells the story of one from her drama school days in her number, "Nothing."
----
