Michael Bennett's Choreography: A Chorus Line and Dreamgirls
This paper examines Michael Bennett's legacy as a Broadway choreographer, focusing on his work in A Chorus Line and Dreamgirls. Unlike contemporaries such as Bob Fosse, whose signature style dominated every production, Bennett tailored his choreography to serve each show's narrative and themes. In A Chorus Line, dance functions as storytelling, revealing individual character within a framework of enforced uniformity. In Dreamgirls, coordinated movement reflects the group's shifting power dynamics and the commercialization of Black musical style. Together, the two productions illustrate Bennett's central choreographic philosophy: that dance must reveal character and tell a story rather than serve as mere spectacle.
- Bennett's Approach to Choreography: Bennett's style versus Fosse's distinctive signature
- A Chorus Line: Individuality Within Uniformity: Audition scene reveals character through shared movement
- Character and Conflict Through Movement: Individual dancers' stories emerge through physical style
- Dreamgirls: Dance as Social Commentary: Girl group choreography reflects power shifts and race
- Bennett's Enduring Choreographic Philosophy: Dance as storytelling across both productions
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What makes this paper effective
- The paper grounds its analysis in specific scenes and moments — such as the audition opening of A Chorus Line and the contrast between Effie's solo and the Dreams' entrance — rather than relying on vague generalizations.
- It draws a meaningful contrast between Bennett and Bob Fosse to define Bennett's distinctive approach without over-relying on the comparison.
- The argument builds logically across two case studies, arriving at a unified thesis about Bennett's choreographic philosophy in the conclusion.
Key academic technique demonstrated
The paper uses comparative analysis across two productions to support a single, focused claim. By examining how Bennett adapted his choreographic approach to serve different stories — competitive audition culture in A Chorus Line and racial commercialization in Dreamgirls — the writer demonstrates that a consistent artistic philosophy can manifest differently across works. This is a strong model for arts analysis essays that must argue from evidence rather than plot summary.
Structure breakdown
The paper opens with a framing introduction that positions Bennett relative to his peers. It then devotes two substantial sections to A Chorus Line, analyzing the opening audition scene, the treatment of individual characters, and the grittier vision of performer life. A parallel section on Dreamgirls follows, examining how coordinated movement reflects internal group conflict and racial politics. A brief concluding paragraph synthesizes the theme across both productions.
Bennett's Approach to Choreography
Michael Bennett's choreography in productions such as Dreamgirls and A Chorus Line dominated the Broadway stage of the 1970s and 1980s. Along with the work of other great choreographers of the era like Bob Fosse, Bennett is credited with revolutionizing Broadway theater and the role of dance in the Broadway tradition. In A Chorus Line in particular, the dance tells the story — not plot or even song. Unlike Fosse, however, Bennett did not have a style so distinct that it overwhelmed every production in which he was involved. Bennett tailored his choreography to the needs of each show, allowing it to reveal the production's themes rather than imposing a signature aesthetic upon them. Bennett's mark upon his stage shows is more subtle, but still unmistakably evident.
A Chorus Line: Individuality Within Uniformity
The premise of A Chorus Line is simple: the tale unfolds the struggles of out-of-work dancers to land coveted roles in a Broadway show. They are not stars, but they still want to be part of the chorus line because they need to work. The production opens with an audition scene featuring seemingly infinite numbers of bodies moving in response to the instructions of the show's director. Although everyone is dancing the same steps, some dancers are stronger and others are not. Bennett's choreography, though technically a uniform exercise, is unique in the way every performer suddenly becomes an individual in whom the audience develops a personal investment. The audience immediately finds itself cheering for the weaker dancers and celebrating the stronger ones. The dancers first have their backs to the audience as they face the rehearsal room mirror; then, suddenly, the perspective flips as they turn forward, and the audience sees the dancers who had been hidden at the back.
Although the ostensible purpose of the dance is uniformity on the stage, Bennett carefully creates moments when individual characters shine through — a missed step here, a glance of hope and terror at the audience there. Dancers sometimes break formation in a heroic effort to stand out, yet they all share the common refrain of desperately needing the job. The audience learns about the different characters and levels of ability through their movements, even as the number remains exciting and keeps the audience tapping along to the beat. Of course, A Chorus Line was far from the first Broadway musical to offer a backstage plot, but rather than presenting a sanitized, happy ending in which a single protagonist emerges as the star, it portrays a much grittier vision of what it means to survive as a working performer.
Dreamgirls: Dance as Social Commentary
Bennett also tackled backstage drama in Dreamgirls, which tells the story of a girl group called the Dreamettes. The Dreamettes are formed by Effie White, and the group parlays success at a local talent show into worldwide acclaim. As the group's money and fame increase, so do the personal conflicts among its members. Effie's role is eclipsed by a prettier backup singer who eventually assumes the lead position. Despite being clearly the best singer in the group, Effie is relegated to the background and ultimately replaced because she does not conform to conventional standards of attractiveness.
Bennett uses the conventions of 1960s girl group performance — stylized, coordinated movements — to reflect both the conflicts within the Dreamettes (later renamed the Dreams) and the group's changing fortunes. Their performances grow showier, more elaborate, and overtly sexual as Effie is gradually edged out and the group is taken under the wing of professional management. One of the most poignant moments occurs when the Dreams, now featuring Effie's replacement, take over the stage immediately after Effie delivers her heart-wrenching solo "And I Am Telling You I'm Not Going." The glitter, glamour, and carefully coordinated mannerisms of their slim bodies writhing in costume form a stark contrast to Effie's raw power, honesty, and solidity.
Works Cited
A Chorus Line. Directed by Richard Attenborough, 1985.
Dreamgirls. Directed by Bill Condon, 2006.
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