New York audiences are most familiar with West Side Story from choreographer Jerome Robbins’ same-titled suite for New York City Ballet, from the 1961 film directed by Robbins and Robert Wise, and the essential story from myriad renditions of Shakespeare’s Romeo and Juliet. But it is on Broadway now after nearly 30 years (!), and a chance for a new generation or two to become acquainted with a wonderful show.
Leonard Bernstein wrote the score for the show, which premiered in 1957. Arthur Laurents, who wrote the original book and is now in his 90s, directed the new production. Most notably, it incorporates Spanish dialogue and lyrics to give the ethnic divide some real bite, but refrains from using technological wizardry. Lin-Manuel Miranda, who wrote In the Heights, was charged with the translating some of Stephen Sondheim’s lyrics into Spanish, although the songs are so familiar that it’s almost irrelevant what language they’re sung in. In some of the conversations, the actors elide from Spanish into English, as Nuyoricans might. All in all, if you don’t speak Spanish, don’t worry.
While the Sharks (Puerto Ricans) are still depicted as the interlopers in this turf battle, they come across as more balanced and better dressed than their foes. Much of this depth comes from the females—Maria (Josefina Scaglione) and Anita (Karen Olivo), two sides of a coin—and their friends. They wear purple flared dresses with flouncy skirts (designed by David Woolard) that the women swish around. The Jets guys are mostly thuggish or limited somehow, and the gals—who get pushed around a lot—wear narrow cut, skimpy outfits that don’t seem to have anything to do with the rest of the costumes.
Tony is played by Matt Cavenaugh, whose elastic voice has a lot of mid-range vibrato, but he hits the top notes cleanly. Karen Olivo dominates the stage when she’s on, tossing her mane and skirts with abandon. Cody Green (Riff, and winner of Bravo’sStep It Up & Dance) leads the Jets in their powerful group dances; his muscular build and explosive dancing lend some welcome toughness. The dances (choreography “reproduced” by Joey McKneely) are anchored by Robbins’ familiar, often exuberant passages, which are far more street-worthy in this production than at NYCB.
The set, designed by James Youmans, ranges from obligatory (fire escapes and chain link fence) to awe-inspiring (a brutal bridge overpass, luminous orange and pink sky washes, lit by Howell Binkley). With the exception of the gym and dream segments, the set compresses the performing area, conveying a sense of being trapped, but also limiting the group dances. And Maria’s, fire escape/balcony slides onstage awkwardly. But in the end, all the elements come together for a gratifying production of a classic Broadway show.
Photos by Joan Marcus
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