We saw an absolutely wonderful documentary yesterday: Every Little Step, about the recent Broadway revival of A Chorus Line. If A Chorus Line is a musical about people auditioning for a musical, then Every Little Step is a documentary about people auditioning for a revival of a musical about people auditioning for a musical.

Yeah, pretty meta.

I saw the original production of A Chorus Line when I was a kid, and I don’t remember much about it. After watching this documentary, I could kick myself for not seeing the recent Broadway revival. I really, really wish I’d seen a production of the show when I was old enough to appreciate it.

A Chorus Line was a groundbreaking musical when it opened at the Public Theater in 1975 — it transferred to Broadway later that year — but by the time I was a kid growing up in New Jersey in the 1980s, it was an institution. It had always been around and always would be, ensconced forever at the top of the ABCs, the New York Times’s daily alphabetical listing of current Broadway shows.

My parents took me to see A Chorus Line on my 10th birthday, in December 1983. I’d started acting in school plays a couple of years earlier; they’d seen A Chorus Line back when it was new, and I guess they thought I, a budding performer, might like it. But they must have forgotten how much of an “adult” show it was. I can’t tell you how embarrassed I was as a 10-year-old boy to be sitting with my parents, listening to a woman sing about “tits and ass.” I was mortified.

That’s the only thing I remember about seeing the show.

I looked at my Chorus Line Playbill this morning — I have the Playbills for almost every Broadway show I’ve ever seen — and according to the cast list, when I was 10 years old I saw the original “Paul,” Sammy Williams. He was apparently still in the show in 1983, eight years into its run. I wonder if he left and came back or if he’d been in it the whole time? Anyway — his performance was wasted on me. I saw the original Paul and I don’t even remember!

Which brings me to one of the most amazing moments in the documentary, which is when Jason Tam, during his audition, performs Paul’s monologue. The performance is so moving that the panel is fighting back sobs. Once the audition is over and he leaves the room, Bob Avian — the original co-choreographer and the revival’s director — lets go and breaks down in tears. I was choking back tears myself, as were other people in the audience.

It wasn’t until watching the documentary yesterday that I really thought about A Chorus Line in the context of its time and place: New York City, 1975. Post-Watergate, pre-disco; post-Stonewall, pre-AIDS. (About halfway through that 12-year gay golden era, in fact.) A few years ago I wrote a piece for the New York Blade about my impressions of a documentary called Gay Sex in the 70s. I linked to it on my blog and wound up getting schooled for my naivete by a few people who had been around during that decade. I admit that I used to feel uncomfortable about gay life in the 1970s. The era just seemed so distant, so foreign, so weird — right down to the mustaches. (A few people made fun of me for remarking on the mustaches.) But the more I’ve thought about it, the more I’ve wished I could go back 35 years in a time machine and just walk around the Village and take everything in. I realize that may sound silly to someone who actually lived through the 70s. But I didn’t live through the 70s.

And I wish I could go back in time, turn invisible, and visit the Public Theater in the spring of 1975, where people were discovering A Chorus Line for the first time.

I can’t recommend Every Little Step highly enough. If it’s playing in your area and you love theater, go see it.