Every Little Step is a riveting 2008 documentary that chronicles the audition process for the 2005 Broadway revival of A CHORUS LINE, that not only provides an intimate behind the scenes look at the audition process for the production, but includes archival footage from the original 1975 production and interviews with original cast members as well as the show's creator, the late Michael Bennett.As expected, the documentary begins with quick interviews with hopefuls in line outside the theater explaining what the show means to them. We then move inside the studio where Baayork Lee, who played Connie in the original production, shows the auditionees the jazz and ballet combination in the show before the initial elimination.The film then alternates between the audition process and a look at the original production, which included some background on Michael Bennett, some provided by original cast member Donna McKechnie, which even features some old footage of Bennett and McKechnie dancing together on Hullabaloo.As the auditionees are eliminated, focus is shifted to a few of the individual dancers working to be cast. We meet a girl who drove into Manhattan from Parsippany, New Jersey, who ends up being one of the finalists for the role of Val. We watch several girls butcher Maggie's closing solo during "At the Ballet" and we meet a dance legacy, Charlotte D'Ambroise, a Cassie finalist, who is the daughter of legendary ballet dancer Jacques D'Ambroise, who is also featured in a very touching interview. We also meet three guys auditioning for the role of Mike, including an extremely arrogant Tyce Diorio, who would go on to be a judge on SO YOU THINK YOU CAN DANCE.Best of all, we are allowed to witness the audition of a young dancer named Jason Tam, whose performance of the monologue by the Paul character brought tears to the eyes of everyone at the audition table, as well as my own...probably the only character who was cast instantly...he was even better than original Paul, Sammy Williams.There were some sad elements showcased here, notably watching poor Baayork Lee, whose career has gone nowhere since the original 1975 production and has made a life out of choreographing revivals of the show and it was kind of sad watching the clearly out of shape Lee showing young nubile dancers the combinations. I was also moved by the plight of Rachelle Rak, a finalist for the role of Sheila, who was in the original cast of FOSSE, being told after multiple auditions, that she needed to bring something back to her reading of the role that she did during the first audition, but couldn't remember what she did nor was unable to recreate it.For dancers and lovers of musical theater, this is a must.

This documentary is on the short list for the Oscar next year.It is a look backstage at what goes on in casting for a Broadway play. The play in question is A Chorus Line, and the film focuses on a dozen or so dancers that are auditioning for a part.What you quickly find out is that these dancers started when they were three or four and are in as good or better shape than any pro athlete.Then come the auditions. The ups and downs, the callbacks, being just a little bit off, not having that spark they are looking for; judging these things is just as hard as auditioning. I really have a greater appreciation for what these performers go through.All that work makes for a fantastic final product.

In 1974 Broadway director and choreographer Michael Bennett sat down with a group of dancers and interviewed them in intimate detail about their lives, careers and aspirations. The transcripts of that 12-hour session became the basis for Bennett's extravagant new musical A Chorus Line which explored the passions, dedication, determination and personal stories of dancers keen to tread the boards on Broadway. The show scooped the pool at the 1976 Tony Awards, winning nine Tonys, went on to become a Broadway phenomenon and the longest running American musical in history. In 2006 Bennett's assistant director Bob Avian staged a revival. This superb fly on the wall documentary follows the gruelling casting process from the original call-out, through to the final selection. There are 17 roles to cast, and the producers are locked in to very specific casting choices because of the nature of the show and the characters. Ironically, art imitates life here as this documentary is about a group of dancers auditioning for a show about a group of actors auditioning for a role in a musical. Many do not make the cut, and those who are called back for further auditions are not guaranteed success. In an era when vapid reality TV shows like So You Think You Can Dance, Australian Idol, and their ilk, have made the auditioning process a forum for cruel put downs and the sarcastic wit of a panel of judges, Every Little Step is refreshingly upbeat, honest and positive. While we experience the elation of those dancers who are successful, we thankfully do not dwell too long on the tears and disappointments of those hopeful stars who, for one reason or another, are unsuccessful. In one extraordinary scene, Jason Tan's heart wrenching monologue for the key role of Paul, the drag queen, reduces theatre veteran Avian to tears. Co-directors James D Stern and Adam Del Deo have been granted unprecedented access to Bennett's original tape recordings, and this gives a deeper understanding about the show's genesis and what it is trying to do. The filmmakers, who have extensive experience in the theatre world themselves, juxtapose archival footage taken during the auditions for the original production with many of the hopefuls auditioning for this revival. There are fascinating and insightful interviews with Avian, as well as stars of the original production in Tony award winner Donna McKechnie, and the very demanding Baayork Lee, who played Connie and who is now choreographing the revival. An exhilarating insight into the world of musical theatre, Every Little Step is almost mandatory viewing for anyone with aspirations for pursuing a career on stage.

I think this was a brilliantly done film. It may have its flaws (Not necessarily crediting everyone properly where credit is due), but that aside, it's a beautiful look in the auditioning process from both the actors' and producers' sides, using a the audition process for the revival of the groundbreaking musical about the auditioning process.The structure of the film is wonderful. This is a documentary that works well, not just as a documentary, but as a film. I suppose that we may be a bit jaded by watching "American Idol" and similar shows which expose some of the auditioning process, this goes a bit deeper, looking at performers who operate at the highest level of work. Some of the audition clips show performances that are astonishing and thrilling. That American Equity Association, the union for Broadway actors, allowed the filmmakers to film the actor/dancer/singers to be filmed, it allowed us to see the audition process for performers such as Charlotte D'Amboise, already a star for her performance in Chicago.That this film goes back to original interviews with Michael Bennett and some of the taping of dancers and actors who spend most of their time on the audition line and expose their inner selves when then perform, it helps us empathize with these performers who aspire to be part of one of the great acting pieces for musical theater performers.The film never sinks to maudlin profiles of the performers, unlike American Idol and the like. That the filmmaker doesn't do this allows us to come to the film. Never did I feel that I was being hit over the head or were the emotions generated undeserved.In addition to the clever device of the watching the audition process for a musical about the audition process, the film really gives you a sense that it's a challenging, grueling process for both sides. And it's incredible thinking about this "interview" process only results in a contract for 6 or 7 months. How would you like to spend 8 months preparing to interview for a job that only may give you 6 months of employment? Finally, the film keeps us in suspense, much the way watching an American Idol episode, so the film works on many, many levels. I'm glad that the producers are correcting some of the credits for the DVD release. Those omissions didn't keep me from being enthralled with this documentary. Anyone remotely interested in theater or musical theater ought to see this film.