There was a book that I read during my M.A. that analysed the scores of several musicals and it really ripped A Chorus Line to shreds as far as I can rememeber - so much so that although each chapter used illustrations of the score to illustrate the points of the author's argument, the section on A Chorus Line had none because the rights were denied after the A Chorus Line representatives read the analysis. And I remember being quite shocked at the extent of the author's criticism but I was also convinced by his argument.

I'd love to have another look at that chapter I think the book was called The Broadway Musical: A Critical and Musical Survey and the author Joseph P. Swain - has anyone else read that chapter? If so, what did you think?

I think the score for A Chorus Line is fantastic, particulary for its era. I did A Chorus Line earlier this year and the only song i got sick of, well i hated it from the start, was "And..."
The melodies, repitition and contrasts are very reflective of what the script is trying to get across.
I could talk forever about ACL, so i'll leave it here! I think its a fanastic show score and script!

Timmmmmmmy!

The thing that is, perhaps, surprising about the score is the sheer amount of underscoring that fleshes out what is represented on the cast recordings. I think there are technical things that can be picked apart in the score - Joseph P. Swain, mentioned above, certainly identifies a number of them - but there are also remarkable pieces of work here apart from the major songs, like the entire montage, which was a stroke of genius and is masterfully executed. I guess the thing is that the score does what the show needs it to do. Sure, it might hold up to technical scrutiny such as Swain's if all the details - such as the relationships between the different keys within, say, "At the Ballet" - were in place, but when the show is so effective, thanks in no small part to Michael Bennet's vision, to what extent is all of that really valid, however well it might be articulated? I don't think it compromises the dramaturgy of the show in the way that Swain does, although, as I mentioned above, his argument is incredibly convincing.

It's a good show with a good score. I wouldn't consider it a favorite of mine, but I can't deny that it's a classic.

I don't really like the score, and, since that's been my only exposure to the show so far, I don't really like the show. But seeing it live tops my to-do list regarding theatre, because it seems like an exhilarating experience.

For me, the score has a few Gems (What I Did For Love, Music and the Mirror, One, etc) but overall, not a huge fan.

I agree Hemat, I cant only really listen to 4 songs from the score the rest bores me to tears.

I don't like the Montages but LOVE the rest of the score...however if you see (hear) a singer who can't quite hit the notes or is just a bit off the songs for sure decrease in quality.