A Sensation's Final Bow

From the moment that A Chorus Line debuted in April 1975, it caused, in the words of a song in its score, one singular sensation. It swept nine Tony Awards and the Pulitzer Prize for drama. More impressive still, as the years rolled on, it kept packing in crowds until, this past New Year's Eve, the musical celebrated its 6,000th performance, a milestone not reached by any other Broadway offering in history.

Even last week, when producer Joseph Papp announced that he would close the show on March 31, reporters leaving the onstage press conference had to push through throngs of eager customers lined up for the Wednesday matinee. To them, as to some 6.5 million Broadway theatergoers before them -- not to ! mention the audiences for touring versions in the U.S. and 22 other nations -- A Chorus Line epitomized the guts and glory of show business. As shaped by director-choreographer Michael Bennett, it pioneered new themes and forms in its candid portrayal of the backstage and personal lives of dancers and in its deceptively simple, quasi-documentary staging, which interwove an informal audition with razzmatazz performing.

Apart from its unprecedented success, A Chorus Line played a vital role in sustaining Papp's nonprofit New York Shakespeare Festival, the premier off- Broadway showcase. During its 15 years, the show generated some $277 million in revenues, of which $37.8 million was paid to N.Y.S.F. as producer. This year, however, it began losing almost $50,000 a week. "I don't know how we will replace the revenue from this show," said Papp, "but I know there will never be another A Chorus Line."