Staff and pupils at King's College put on a dazzling evening of theatre with a spectacular production of A Chorus Line. The story concerns a group of hopeful dancers auditioning for a part in a chorus line. The director, given an all-powerful and at times slightly sinister performance by Steve Shaw, asks each dancer to talk about themselves, their life history and their aspirations, as part of the audition process.

The opening 'I Hope I Get It' was a virtuoso ten minutes of theatre. Playing the part of the choreographer, Ellie Barrs, who actually choreographed the King's production, was simply brilliant. 'I Can Do That' revealed a terrific singing voice in Dominic Stuckes, and Jack Graham, Ronan Handcock, Megan Savage and Jess Mason all shone in 'And'. Emma Butler, Alex Wynn and Alice Bevan created an extremely touching 'At the Ballet' and Ellie Watts and Nick de Figueiredo showed virtuoso timing in 'Sing'.

'Hello Twelve, Hello Thirteen, Hello Love' a sizzling montage, with starring roles for Charlie Evans, Callum Brown, Elliott Marchent, Jess Mason and Alice Bevan, only for Caroline Tecks as Diana almost to steal the show with her unbelievably authentic show voice in 'Nothing'. Ronan Handcock as Ritchie, could almost have been a professional singer himself , while Megan Savage gave a cleverly sardonic yet touching performance of 'Dance Ten, Looks Three'.

Jess Dalwood was a revelation as Cassie in 'The Music and the Mirror", her extended song and dance routine was one of those moments you forgot you were in a school theatre. Murray Grindon's monologue as Paul had the audience hanging on his every word and 'What I Did for Love' was beautifully sung by Sophie Hewitt, Emily Baker and Edward Wynn.

The number of individual cast names that need to be mentioned is an indication of just what a true ensemble piece this was. And here lies the irony at the centre of the show. These 'gypsies' we have come to know, and in many cases love during the evening, merge at the end into the faceless chorus line. And these ensemble scenes really did steal the show, with outstanding singing, and spectacular dance routines.

None of which would have mattered of course without another fine band put together by director of music Colin Albery and assistant Karen Fergusson. Lighting by Will McKean and sound by Sascha Panayotopoulos belonged to a professional theatre, as did Maggie Vile's costumes. So much credit is due to director Anne Sheehan for producing such a fabulous evening of theatre.