Directed by
Joey McKneely – Musical Direction by Donald Chan
Set designed
by Paul Gallis – Costumes designed by Renate Schmitzer
Lighting
designed by Peter Halbsgut – Sound Designed by Rick Clarke
Presented by Opera Australia and GWB Entertainment
Joan
Sutherland Theatre, Sydney Opera House 20th August to 6th
October 2019
Reviewed by
Bill Stephens.
An
acknowledged musical theatre masterpiece, “West Side Story”, along with a short
list of other musicals you could count on one hand, pushed the boundaries of
the form. This reworking of the familiar Romeo and Juliet story, now transferred
to 1950’s New York, with young street
gangs replacing the feuding families of the original, boasts a thrilling score
by Leonard Bernstein which miraculously captures the excitement and tensions of
the city in which it is set, lyrics by a young Stephen Sondheim that convert
the vernacular of the warring New York
gangs into poetry, and most of all, the extraordinary movement repertoire
created by Jerome Robbins for his brilliant dances, all of which still excite
after more than 60 years.
Each
component is remarkable, but together, especially when performed as well as
they are in this production, are guaranteed to induce goose bumps and feel as
fresh and inventive as when they were first premiered in 1957.
 |
| The Jets in "West Side Story" |
Director,
Joey McKneely, who also reproduced the Jerome Robbins choreography, has drawn together
an attractive young cast, each around the age of the character they’re portraying. Some are making their professional theatre
debuts in this production so obviously dance prowess was a paramount
consideration in the casting for this work. The dancing throughout is brilliant
with obvious attention being lavished on making sure every phrase and detail is
correctly executed by the young dancers who attack the choreography with style and
pizzazz. The results are exhilarating.
However, the
acting is less convincing and despite obvious commitment, some lack the
experience and acting skills necessary to invest their roles with sufficient
gravitas, often resorting to shouting and posturing rather than being immersed
in their characterisations.
Replacing Todd
Jacobsson who was ill on opening night, Daniel Assetta stepped into the role as
Tony. Though he sang attractively he had trouble sustaining some of the top
notes in his solos, possibly through nervousness, but had more success with his
duets with Sophie Salvesani (Maria) which were quite lovely. However his acting
tended to stop when the music did, and there was little real chemistry between
them.
Sophie Salvesani
was a lovely Maria, bringing a clear sweet soprano voice to the role, and
acting affectingly, particularly in the finale scene when, standing over Tony’s
lifeless body, she threatens to shoot the onlookers.
Both Noah
Mullins and Lyndon Watts as the gang leaders, Riff and Bernardo, brought plenty
of energy and attitude to their roles, but it is Chloe Zuel as the fiery Anita,
who digs below the surface to create a truly memorable characterisation,
acting, singing and dancing with assurance.
 |
| The Paul Gallis setting for "West Side Story" |
Peter
Gallis’s towering metal settings are effective in evoking the ladders and
scaffolding of the New York landscape, and Renate Schmitzer’s attractive costumes
are unusually colourful. However, it is the music, brilliantly interpreted by
31 members of the Opera Australia Orchestra under the baton of Donald Chan, who,
reputedly has conducted more than 3000 performances of “West Side Story”, together
with the brilliant dancing of the cast, which are the stars of this production
and which remain in the mind well after the curtain has descended.
This review also appears in Australian Arts Review. www.artsreview.com.au
"West Side Story" comes to the Canberra Theatre from 10th - 27th October 2019
