MUSICAL THEATRE
Music by Leonard Bernstein, Lyrics by Stephen Sondheim, Book by Arthur Laurents.
Musical conceived by Jerome Robbins.
At Princess Theatre from Feb 26, 1994 (till Kingdom come! date unknown.)
Reviewer: Kate Herbert around Feb 26, 1994
This review was published in The Melbourne Times after Feb 27, 1994
Romance and Death are ideal pivots for a dramatic plot and West Side Story has both.
In this year of the Revived Musical, West Side Story has been resurrected without looking too anachronistic. Apart from the fact that teenagers no longer fantasise about wedding vows on their first date, (does anyone?) this mixed-race love tale still twangs the heart strings.
It is essentially a 50's version of Romeo and Juliet with terrific tunes: Maria, (I Want To Live in) America, Tonight, I Feel Pretty. (Lyrics: Sondheim, Music: Bernstein). In case you've been living in a cave for thirty years and don't know the plot, it is set in New York's West Side where the Puerta Ricans Sharks (Montagues) fight a racial gang street war with the All- American Jets (Capulets). Head Jet, Riff (Mercutio) and Maria's brother Bernardo (Tybalt) die in a rumble by knife (rapier).
Marina Prior as Maria achieves her dramatic peak at Tony's death when Maria has "learnt to hate". Earlier she is in good voice, but her portrayal of the virginal Maria lacks latin passion. Sean McDermott is a vigorous and attractive Tony with a strong upper register, but the voice lacks subtlety. Adam Marchant is almost regal as Bernardo.
Romantic leads are often dull characters. Their best friends are invariably more interesting. Caroline O'Connor as Anita, Bernardo's girlfriend, is vibrant, magnetic and energetic. Her Irish name belies her charismatic Hispanic stage presence.
With the exception of the rather schmaltzy ballet during Somewhere, Ian Judge's direction is tasteful, swift and economical. Stage design by John Gunter brings New York's alleys uncannily to life with tenements skyline an even the Brooklyn Bridge on stage.
High points were the Dance at the Gym, Cool, led beautifully by Todd McKenney as Riff, and the quintet of Tonight. The Jets parody of delinquents and police, Gee, Officer Krupke was a riot with an enjoyable performance from Eden Gaha as the volatile Action.
This show is fierce, fast and furious, recreating original choreographer, Jerome Robbins, hot street jazz dance and Puerta Rican mambo. It is also disturbingly violent. Stylisation heightens the ferocity of the fights. There are echoes of contemporary war zones: peace comes only after sufficient people have died and enough survivors have recognised the stupidity of the conflict.
KATE HERBERT 27.2.94
370 wds
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