Does new West Side Story sink or swim?
West Side Story is perhaps the quintessential ‘triple threat’ musical. It requires the perfect mix of singer, actor, dancers to get it across the line and is one of those shows that can be so powerful if it is done right, and so awkward and shaky if done wrong.
Review by Troy Dodds
West Side Story is perhaps the quintessential ‘triple threat’ musical. It requires the perfect mix of singer, actor, dancers to get it across the line and is one of those shows that can be so powerful if it is done right, and so awkward and shaky if done wrong.
This new Australian incarnation of the 1957 classic musical still embodies the spirit and joy of what West Side Story is all about, and its dramatic climax remains one of the finest and most moving moments in musical theatre.
This production is littered with largely unknown, rising stars of the Australian musical theatre scene. On the whole, they hold their own, though there’s a few notable shakes. More on that later.
Based on the classic tale of Romeo and Juilet, West Side Story’s exploration of gang rivalry, social change and love against all the odds is as relevant now as it was back in 1957. In fact, it is only watching it now that you realise just how powerful this musical was at the time of its original premiere, and perhaps how ahead of its time it was.
This production keeps you somewhat on the edge of your seat, particularly in the final 20 minutes of each act, but it’s far from a firecracker spectacle.
The entire show smells of the current-day revival format, where casts are generally younger and less-experienced, runs are nothing more than six weeks in each city and the orchestra seems to get smaller by the show.
On one hand, the young cast takes some maturity out of the show, but on the other, it perhaps gets West Side Story back to its original mantra. Either way, it will test your first memory of West Side Story and you will most likely find yourself comparing this to whatever that memory was; whether that be good or bad.
In the lead male role of Tony, Josh Piterman makes a shaky start before finding his way. Opening night nerves, perhaps? He never quite gets to where Tony needs to be, but may find his way later in the run. His vocal strength isn’t quite there, and particularly in the first act he doesn’t really connect with the audience.
Talking of opening night nerves, perhaps that is the only excuse for a weak opening, with ‘When You’re A Jet’ somewhat of a shambles and terribly out of whack.
We can only be grateful for the arrival on stage of Julie Goodwin (Maria); who soars in the role vocally and is the strength of the entire cast. Her ‘Tonight’ with Piterman is superb, and she only grows as an actor as the show continues.
Alinta Chdizey’s Anita is fiery, but again there’s vocal problems, particularly in some of the bigger numbers late in the show. Still, she manages to make up for it with some fine acting, though one must believe that Anita has ‘lived’ a little more than her portrayal may suggest, particularly in the second act’s frightening rape scene. Her reaction just seems a little off.
Niger Turner-Carroll makes a fine Bernardo, and the ensemble cast is generally great, particularly when it comes to the elongated dance numbers, which are the highlight of the show.
This West Side Story is a wonderful spectacle, but is far from sturdy. It is obvious that a longer rehearsal period would have helped, and that this show wasn’t quite ready for an opening night audience.
It will only strengthen as the planned tour goes on. It just needs a little polish.
