So, let’s have a look at the twentieth century showgirl before the decline. And, of course, the striptease would also end up on the losing side once in-home entertainment (VHS, Internet) found its way to the male consumer. It was a win-win for the striptease and a lose-lose for polished stage productions. If men just wanted to see some risque dancing, the Pussycat Lounge had more to offer than a Broadway chorus line, and it cost a lot less to attend and to produce. The decline was due in no small part to the rise of burlesque and strip clubs.
We still have The Rockettes and certain Vegas casinos keep the torch alive, but the golden age has certainly passed. Many decades later, the style found mega-success in a booming desert oasis called Las Vegas.īut all good things eventually come to an end. Cabarets such as the Moulin Rouge, Le Lido, and the Folies Bergère featured dancers with a more erotic flavor. The human struggle behind the songs: Every kid who ever came to New York to work in and around the theater, or anybody who dances for a living in that milieu, will immediately connect with the stories of the characters of A Chorus Line, and upon listening to them will say, That’s me. Parallel to the chorus line were performances which centered more on the female body. Song: One From the Broadway Musical A Chorus Line The Music of Marvin Hamlisch.
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