A Chorus Line No. 3 - Marvin Hamlisch & Ed Kleban
- Lauryn Johnson
- Jul 3
- 4 min read
Marvin Hamlisch was the composer of A Chorus Line, creating a score that captured both the vulnerability and drive of dancers chasing their dreams. Known for his work in film and on Broadway, Hamlisch brought a cinematic sensitivity to the show’s emotional arc. His music, initially disdained by critics, one calling it "notably lacking In the least melodic or harmonic originality", has become one of the most famous Broadway scores in history. With his melodies being hummed show people and everyday folk alike.
Ed Kleban was the lyricist of A Chorus Line, giving voice to the dancers' inner lives with raw, honest, and deeply human words. A relative unknown at the time, Kleban poured his own emotional depth and insight into lyrics that revealed both the heartbreak and resilience of life in the chorus. His lines—like “a dancer dances” and “the gift was ours to borrow”—have become Broadway gospel. His lyrics continue to resonate with performers and audiences who see their own stories in his words.
This music team won the 1976 Tony Award for Best Original Score, and the Pulitzer Prize for Drama.
The text below comes from Marvin's autobiography The Way I Was.
May 8, 1974
Early afternoon. I'm on my way to see Michael at his apartment on West Fifty-fifth Street. I know this guy's going to be the next Jerome Robbins. He was brilliant with Company and Follies. What Michael is, is a visionary, an extraordinary mixture of energy and ideas. I still can't forget his choreography for A Joyful Noise. If there's anyone to break the mold of the American musical, it's Michael Bennett. That's not to say he isn't ultratheatrical, overcon-fident, and, at times, very arrogant.
"It's about dancers."
I'm not sure what reaction he expected, if any.
[...]
It was his confidence that started to envelop me. I realized that another talent of his was the ability to persuade. I'm beginning to sense there's a bandwagon here. I better get on it now. I'll figure out where it's going later. If M.B. is going to extend the boundaries of Broadway and change its form, then here's a chance for me to extend its musical horizons.
[...]
I made the decision to put my money on Michael. There would be no second-guessing on my part.
May 24, 1974
My first impression of Ed [Kleban, the lyricist] is that he is very intellectual, methodical, quiet, and a genuinely nice guy. Just meeting him today has made this project seem more of a reality. Having listened to all the tapes, he filled me in on his ideas. We'll meet again in a few days.
June 21, 1974
Ed and I are now going to intensify our sessions to figure out what to musicalize. I take the transcripts home and spread them out on the living-room carpet. Slowly, I choose the stories that would musicalize best and the ideas I feel are the most intriguing about each character. I also want to make sure there is enough variety in the characters. [...] If we can make this work, it would all be so staggering.
August 20, 1974
Ed said to me today: "The main all-consuming thing about these dancers is how endlessly desperate they are for work. The job is the Holy Grail." And then he handed me a yellow piece of paper from his pad. There were only four simple lines on it:
God I hope I get it
I really need this job
Oh God I need this job
Please help me get this job
In these simple words, Ed has caught the essence of what our show is about. You might say the music and lyrics were born at this moment. I had all I needed.
February 11, 1975
Ed rushes over (no nap today) and hands me a crumpled piece of yellow paper from one of his infamous pads. All I see is:
One singular sensation, Every little step she takes.
One thrilling combination, Every move that she makes.
The Rockettes flashed in front of my eyes. The key to the whole thing is that after the word "One," I needed to make room for a real old-fashioned chorus-line kick. And that did it. Once I had that, the song practically writes itself.
"Of course, the music was never intended to stand out from the dialogue and the dancing. It was meant to be seamless. That was exactly what I aimed for all along. I wanted to be sure that the score acted as a kind of 'train of thought.' As each dancer began spilling out his or her innermost thoughts, the music would capture that abandon. Yes, certain songs might stand on their own, like "One" or "What I Did for Love," but for the most part, the score was intended to marry music to the flow of thoughts."
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