Marriott revives 'Chorus Line' in singular style

"Showstopper" refers to a moment in a musical so captivating that it's as if the audience falls under a spell, afraid to breathe lest the magic disappear. It's the moment the audience's delight becomes palpable. And when it concludes, sustained and vigorous applause follows.

In a classic like "A Chorus Line," the term usually applies to a soaring ballad like "What I Did for Love," or a dazzling production number like "One." It does not typically apply to a monologue. Or it didn't until Bryan Knowlton redefined the word Sunday at the opening of Marriott Theatre's sensational revival of the iconic 1975 musical about dancers vying for a spot in a Broadway chorus.

Knowlton plays Paul (the role he played in the 2006 Broadway revival), who began his professional career in a drag show. Knowlton's vulnerable, deeply moving revelation of the character's childhood abuse and adolescent shame ranks as the show's most genuinely affecting moment. That it holds its own against choreographer Rachel Rockwell's electrifying dance numbers reflects the savvy, sensitive direction of Mark Lococo who understands that great acting makes for great musical theater.

Inspired by interviews the late director/choreographer Michael Bennett conducted with real-life Broadway dancers, "A Chorus Line" reveals their passion and disappointment, self-doubt and determination. At the same time, it chronicles the endless cycle of success, failure and constant competition that defines their lives.

Marvin Hamlisch's tuneful score, Edward Kleban's noteworthy lyrics and James Kirkwood and Nicholas Dante's authentic book combine for a telling - and timeless - snapshot. Set in 1975, the show begins with a tension-filled audition overseen by director Zach (Tim Gregory, hinting at the Svengali's humanity), and his assistant Larry (the impeccable Matt Raftery). Zach puts the hopefuls through their paces, assessing their skills and probing the psyches of the dancers, several of whom are pushing (and pushing past) 30 and coming to the realization that the time for fulfilling their dreams is running out.

First-rate dancer/singers comprise the cast which includes veterans of the recent Broadway revival. There's Zach's ex-lover Cassie (Mara Davi), a former standout and failed actress returning to the chorus; Sheila (the aloof and leggy Anika Ellis), who wears aggression like armor; the undaunted Diana (Pilar Millhollen, a terrific dancer with a voice to match); Val (sassy Nina Fluke), the aspiring Rockette whose career improved after her plastic surgery; and the exuberant Mike (Alexander Aguilar, whose superb "I Can Do That" sets the bar staggeringly high for everyone who follows).

Credit for the stellar sound rests with music director Ryan T. Nelson. Case in point, "At the Ballet," a richly resonant elegy to an unhappy childhood, beautifully sung by Ellis, Pegah Kadkhodaian and Danielle Plisz.

The flawlessly timed "Sing" with Adrian Aguilar and the pert, perfect Nicole Hren is irresistible. And the penultimate "What I Did For Love," a bittersweet homage to the pursuit of art, is absolutely sumptuous.

That said, Rockwell's bravura choreography dominates the show, which benefits from set designer Thomas M. Ryan's ingenuous use of mirrors. Pairing Bennett's signature steps from 35 years ago with her own dynamic, ever-fluid moves, Rockwell masters Marriott's 360-degree stage and revitalizes a classic.