Carly Mercedes Dyer on taking 'A Chorus Line' to the West End

A Chorus Line’s singular sensation talks about bringing the Leicester Curve production to Sadler’s Wells alongside esteemed dancer and choreographer Adam Cooper.

When Carly Mercedes Dyer first appeared in A Chorus Line at Leicester Curve, she never imagined she would have the opportunity to step back into Cassie’s shoes three years later. "To bring the show to my home town – and to Sadler’s Wells, the dance theatre – is so exciting," she says. "Our version is completely new and reimagined. It’s a love letter to people who put themselves on the line at auditions. But it’s also a story of hope for people striving to do any job they love."

Dyer has racked up an impressive lists of theatre credits in the likes of Anything Goes, Six, West Side Story and Ain’t Misbehavin’. She talks to London Theatre Magazine about her early training and the joys of performing alongside dance legend Adam Cooper.

How did you get into theatre? My best friend in nursery school went to a dance class and I decided I really wanted to go too. We eventually went to the same dance school and did singing festivals together, carpooled together and had the same singing and piano teachers. It was like having a second family of people I grew up with doing dance competitions. And my mum had such tenacity – she was so good at finding things in the industry and amateur world for me to do.

Were you familiar with A Chorus Line before you got cast? Oh, a hundred per cent! If you’re in musical theatre, you know A Chorus Line because it’s so iconic. When I was doing dance competitions, Cassie’s solo from the movie was my song and dance – and, funnily enough, when I was at Arts Educational, it was the last third-year show. I auditioned for Cassie but then got a job so had to leave early. So, it’s great to be finally stepping into the role at the age I should be playing her.

How closely does the story reflect your own experience of auditions? I think they’ve changed a lot. When the musical was first conceived, it was a time when directors weren’t really interested in getting to know the people auditioning – you just went in and sang your 16 bars or did the dance call and that would be it. You’d then find out whether you got the job or not. But nowadays we’re used to things like The X Factor where people need to have a back-story. It’s all about the journey.

What’s Adam Cooper like to work with? He’s an absolute dream – a little bit naughty and fun at the same time, which is nice because I’m a bit like that myself. There’s a nice surprise at the end of the show, which I won’t spoil. You have to come and see it to find out!

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This article first appeared in the August issue of London Theatre Magazine.

Photo credit: Carly Mercedes Dyer in A Chorus Line. (Photo by Marc Brenner)