Alana’s Score: 3 Stars
Arthur Laurents, Stephen Sondheim and Leonard Bernstein’s musical West Side Story endures. How? It’s a tale of conflict and forbidden love with enthralling dance numbers and memorable songs… inspired by Shakespeare’s most famous star-crossed lovers, Romeo & Juliet. The warring families become Puerto Ricans fighting for their patch of turf in New York against a gang of kids from white immigrants, set against a backdrop of weather-worn metal fire escapes and a skyscraper skyline.
It seems to have all the elements for a gripping, moving piece of theatre, but unfortunately this production directed by Joey McKneely for Opera Australia falls short.
This could be in part because of the young cast, who have energy in droves but tend to suffer a lack of depth at times. Most of them are fresh out of dance school, meaning the dance numbers (using Jerome Robbins’ original Broadway choreography) sizzle with excitement and precision. But in the more dramatic moments we are left craving a bit of emotional depth and theatrical maturity. They also haven’t found an ease with which to sling around the 1950’s NYC slang that the script requires, which would have added an authenticity to the show.
Standout performance of the night is sassy Chloe Zuel as the fiery Anita. Her ‘America’ is highly memorable, and in the darker scenes of Act 2 she displays her considerable acting chops.
The role of Tony on opening night was played by alternate Daniel Assetta, due to a sick Todd Jacobssen. Assetta displayed a lovely tenor voice but lacked a charisma that makes the couple’s passionate whirlwind love affair believable. As Maria, Sophie Salvesani put her astonishing soprano voice to wonderful use, but two great voices do not chemistry make.
Conductor Donald Chan helms the fabulous orchestra with incredible precision, and keeps things moving at a lick (sometimes too much). ‘I Feel Pretty’ feels more rushed than pretty!
There’s very much an overall sense of this show having legs (perhaps that’s the unshakeable material from the original creators) but not quite being able to get off the ground. You’ll come away feeling satisfied you’ve seen a large-scale musical production at the Opera House, but perhaps questioning why you weren’t absolutely blown away.
Playing at the Joan Sutherland Theatre until October 6.
Alana Kaye – Theatre Now
Photo credit: Jeff Busby
