West Side Story

Opening on Broadway in 1957, West Side Story revolutionised the American musical. Here was amazing music, wonderful choreography and the most famous love story ever told - Romeo and Juliet - all set against the grimy, working class west side of New York. It had everything- passion, rivalry, racism, violence and love.

We all know the stunning Bernstein music, the lyrics of Stephen Sondheim (who was not well-known at the time) and the acrobatic and joyful dance choreography of Jerome Robbins. Commenting on the xenophobia and prejudice that has resonated since Shakespearean times, West Side Story remains relevant, particularly given the issues with gangs and immigration still happening around the world. This musical is a risky show- dark and intense but full of youthful energy. It is a well-loved story, so much so, that it has been told in many forms over and over again. Currently, West Side Story is being transformed in a remake being filmed in New York City.

That being said, the current production of West Side Story by Opera Australia and the GWS group should automatically be a hit; a classic, beloved by audience members. Sadly, this production does not always meet the mark. Even when adapted or stylised, West Side Story should remain gritty. At its core, there is a toughness needed, a survivalist instinct, with bold and passionate storytelling. The movements, words and actions within this very dance-based show need to seem effortless, so that the audience members believe they are witnessing rival gangs, not a troupe of classically trained dancers.

It is absolutely wonderful to see major casting opportunities being given to fresh faces on the stage and Director Joey McKneely has chosen to cast very young performers in roles that are traditionally performed in this musical by those of more experience. However, many are fresh out of dance school and on the whole, they unfortunately fail to create an intimacy and connection with the audience. One of the greatest stories ever written becomes lost in stylisation.

At curtain up on opening night, we were excited at the prospect of the famous dance scene which sets up the relationship between the two warring gangs- The Jets and the Sharks. Whilst beautifully danced to technical perfection, and some effort made to show aggression through stylised dance moves, this reviewer immediately felt that she was not watching rivalry building, but a ballet dance-off. As the show progressed there were some wonderfully inspiring moments, such as the Gym Dance scene and the famous “America” song led by the Puerto Rican girls, but at curtain fall we were left wanting.

There are many aspects of the show that are stunning and some cast members and others who deserve special mention. Joey McKneely is to be commended for the dances, which are quite true to Robbins’ original choreography and all executed with technical brilliance, timing and beautiful precision. The orchestra, superbly directed by Dr Donald Chan does not miss a beat- a superb rendition of Bernstein’s incredible score.

The audience aches for the lovers and the show therefore only flies if we can emotionally invest in the two leads. Sophie Salvesani in her professional debut as Maria has a beautiful, resonant soprano voice. I felt at times however, she was so intent on perfecting her technique and Puerto Rican accent that her acting suffered. A gentle and understated performance, with a highlight being her rendition of “I have a love”. Tony, played by Todd Jacobsson has a warm, pleasant voice, but not the emotion to convince us of his excitement about what’s “coming”, nor his passion for Maria. His duet “One Hand One Heart” was well executed with lovely harmony.

The standout amongst the main cast is Chloe Zuel as the feisty Anita. She is wonderful- a triple threat, with a great belt. Her characterisation is outstanding, particularly in her“A Boy Like That”which bleeds emotion and passion. Keanu Gonzalez as Bernardo, her lover, is equally convincing. He makes an imposing leader of the Sharks, in presence and dance moves.

It is unfortunate that whilst the idea of casting a very young looking Riff (Noah Mullins) had the right intent to show that the Jets are basically just teenagers, he falls short of being the charismatic leader of the gang.  A beautiful dancer with a lovely voice, he just doesn’t have the stage presence to hold our belief.

The ensemble is a very talented group of young dancers, with great voices. Among them, the standouts are Molly Bugeja as Anybodys and Joshua Taylor as Action. Both act their roles with intensity and are a joy to watch.

Probably the most impressive aspect of this show is the set and lighting design. Designer Paul Gallis has created a wonderful metaphor for life in the west side. He has based the three-tiered frame on the fire escapes of tenement buildings and these move in and out to create scenes and spaces. The effect is to ‘cage’ the actors; to show the feeling of being trapped in this life. A bare stage floor and cyclorama at times, also contributes to this feeling of emptiness and lack of purpose. A series of old lithographs of the New York streets and skylines is also very effective- sometimes the rear curtain being drawn to reveal but a slice of a scene, again evoking a desperation to escape the concrete jungle.

Lighting by Peter Halbsgut is stunning, shifting the story emotionally through thematic colours and shadow. Lovely moments are created by using frames of light and spots to create mood. Beautifully executed.

Costumes by Renate Schmitzer are beautiful - the vibrant bold colours of the Puerto Ricans contrasting against the more muted, less patterned colours of the Jets and their girls. A visual feast.

Overall, West Side Story is a pleasant night out and faithful to the original intentions of the show, but the over-choreographing of actions has created somewhat contrived gestures and clichéd moments and the inexperienced cast does not quite create the passion and connection with the audience needed to tell this tale.While the music, dance and staging of the show is very beautiful, it sadly has lost the heart of the Romeo and Juliet tale.

Shelley Hampton

Photographer: Jeff Busby