Free-Rain Theatre Company
The Q
Season closed
Reviewed by Samara Purnell
West Side story opened to frantic dialogue delivered at such
pace and with accents which seemed to range all over Australia and America . This meant
that chunks of dialogue were missed, but luckily they were not essential to the
plot, and also improved dramatically later in the performance.
The leads were fantastic – Lachlan Whan as Tony has a warm, pleasant
voice and a likeable stage presence. His voice sounded a little hoarse, perhaps
week three of performance taking its toll. A little more confidence will also
help his performance, as he seemed more at ease and “stronger” when performing
duets. Once he really nails it, the audience will be allowed to relax into his singing, and enjoy his lovely falsetto and lilting vibrato.
As Maria - verging on womanhood and eager to experience life
and romance, Nicola Hall was practically perfect for the role. She embodied the
right combination of petulance and innocence. Hall has a wonderfully pretty and
pure voice and also performed with a convincing Puerto Rican accent, sustained
throughout her singing. Even during long periods of earnest gazing at Tony, she
was truly captivating and you found yourself really rooting for the couple,
despite knowing that their Romeo and Juliet romance is fraught with everything
but a happy ending. The couple’s rendition of One Heart was moving and tender and their voices blended
beautifully.
Amy Dunham was particularly impressive as Anita and completely
convincing as she pleaded with Maria during their duet, A boy like that. Her flirtatious interactions with Bernardo
(Jordan Kelly) were lots of fun. It is always good to see a strong singer who
can also act, as Dunham can, providing fun and laughs all round in her
rendition of America
Riff, played by Zach Drury, snarled his way through a good
performance as leader of the Jets. His singing was at times a little flat yet
he had a good physicality in this role that drew the eye to him during ensemble
pieces.
Well choreographed nuances added credibility to ensemble
scenes and choreographer Lisa Buckley has successfully replicated a
crowded dance hall with a blend of styles from latin to rock n roll. The rumble
was well choreographed and executed between a very sleek looking Puerto Rican Sharks
outfit and the American Jets.
It would have been nice to see Somewhere danced with just the strongest dancers and really
showcase them. Also because some of the pairings looked awkward and in faster
numbers many of the girls didn't look completely relaxed and some of the timing
(both male and female) was right out.
Somewhere,
possibly the signature song from West Side Story, was brilliantly sung by Linda
Gledhill, Sarah-Darnley Stuart and Max Gambale, who oversaw the Jets and Sharks
dancing together in a dream-like sequence, with Tony and Maria in the middle. To
perform it this way was a bold decision that begged the question “Why?” But it
worked. And very well indeed.
Some of the ensemble struggled to give rounded
performances as singers/dancers/actors, but as a group the boys really hit their straps with Gee, Officer Krupke and it would have
been good to see that level of polish from the boys for the entire show.
The set needed a little more to it, as bare scaffolding sets might work in the Musical “Rent”, but
here it didn't quite, and at times it made the dance space a bit tight.
Musical director John Yoon and conductor
Major Geoff Grey endeavoured to maintain the integrity of Bernstein’s original
score and the orchestra sounded great.
Maria was left standing in her bra and petticoat for so long in the opening scenes of Act Two,
including during an interview with Detective Shrank which was both distracting and unrealistic. That said, the entire second
act of this production was incredibly tense, dramatic and emotional, leaving many an audience member teary eyed.
Free-Rain’s West Side Story is a credit to the acting and
singing of the cast and to Director Anne Somes, who has produced a high quality
and thoroughly enjoyable show.
