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Synopsis Musical based on Romeo and Juliet about rival gangs in New York City. Original concept by Jerome Robbins who did the original choreography. Includes songs such as 'Somewhere', 'Tonight', 'America', 'Maria', 'Office Krupke', 'I feel pretty' and 'Somethings Coming'.
The authorised fiftieth anniversary production of West Side Story at Sadler’s Wells, embarking on a national tour in September, is beautiful to behold and full of colour and vivacity. It’s just a bit anodyne, and nobody in the cast really sounds or looks like a troubled teenager in a deprived area on the Upper West Side of New York either then or now.
I’ve always assumed West Side Story to be the greatest American musical, but now I’m not so sure. The music of Leonard Bernstein is the outstanding element, but there’s not enough of it. The book of Arthur Laurents is fine but not as good as his book for Gypsy. The lyrics of Stephen Sondheim proclaim genius but also have their soppy side. The choreography of Jerome Robbins, dutifully reproduced by Joey McKneely, is marvellous, but lacking in street credibility and new moves; it’s woefully dated.
When gang warfare is suspended in the all white ballet of “Somewhere, There’s A Place For Us,” McKneely’s staging reaches its apogee, a fairytale land of living together in perfect harmony, teaching the world to sing, as in the seventies pop song. In contrast, the juvenile delinquency song “Gee, Officer Krupke,” is delivered like some tame dance school number, sans grit, sans teeth, sans life, sans everything. And it’s far too inaudible.
The big gaps in the scoring are not here filled in with attentive acting or real threat and danger. The bunch of Polish American Jets dance like synchronized swimmers, creating tableaux, not rumbles, while the Puerto Rican Sharks and their colour-coded girls – lots of red taffeta and hoity-toity hairstyles – flounce around like a turn in a Paris night club.
A definitive revival of this piece is long overdue. In the mean time, the band under the musical direction of Donald Chan is better than average, but not much, and the Maria of Sofia Escobar sounds the most touching and persuasive dramatic points of the evening. Ryan Silverman is a fairly butch Tony – well, fairly butch compared to the rest of his gang – and Marco Santiago a devilishly doomed Bernardo.
My overriding sense of this as a cabaret version of West Side Story was sealed by Lana Gordon’s Anita whipping up a minor storm with “America” while the number is best conveyed in the clinically executed ensemble that accompanies her. The show is professionally honoured in the performance, but not transformed into the explosive celebration we expected.
a lot of Hispanic gay people dancing - allstraights
29 Mar 11
despite the interruption with stage problems this was a very enjoyable production, the guy playing Tony didnt look the part but sang beautifully and his Maria (Sofie Escobar) was wonderful encompassing every memorable piece of the role. The lady playing Anita was also very good and America was definitely my favourite song of the night! - Grace
09 Feb 09
I saw this production of West Side Story at Wimbledon and thought it was brilliant. Being that knife and hate crime are still very much in evidence, the show underlines the fact that we haven't dealt with these issues very successfully over the past 50 years. However, a glimmer of hope is shown by the timeless song, Somewhere, a universal anthem for a better world. The dancing and atmospheric staging was faultless and there were some very good performers (although, I don't know who they were since no programmes were available). My only quibble with this production is that it feels too much like a corporate event. It's slick, efficient and a little too scared of putting a foot wrong or dare I say it, having a bit of imagination. - DJ
19 Jan 09
When I bought my seat for West Side Story (£21.50 for the back of the theatre) I was told I was going to see the greatest show of my life. I have a feeling that they were referring to something else.
West Side Story, in premise (and no doubt it's original production) is excellent. The songs are memorable and alternate between touching and comic, and there are only a few plot holes (Maria seems quick to forgive Tony for stabbing her brother). This production seemed flawed in multiple places. The set is obstructive (try trying to see past one of the giant wooden balconies) and the dancing, whilst excellent, may require updating in places. - Alice
01 Jan 09
I'm rather baffled by the negativity from some quarters, particularly Michael Coveney. This is the sixth West Side Story I've seen in 28 years on both sides of the Atlantic and it's without question the best. It is of course the greatest musical of the 20th Century and the only one that has successfully integrated music dance and drama, and in London 2008, plagued by knife crime, proves its timelssness effortlessly. The staging is simple but effective; the B&W photo backdrops and tenement fire escapes create the period and location perfectly leaving enough space for the dances. The lighting is particularly good. The thing about this cast is that their singing and dancing talent are equal and they were totally believable. I think a second visit after the transfer to Wimbledon may be in order..... - Gareth James
31 Aug 08
Well, I wish I could be as enthusiastic as some here, but I can't. Musicals have long been treated by some as an inferior medium to opera. Well this production proves how wrong they are. Musicals require singers who can ACT and singers who can DANCE. I haven't seen such wooden acting in a "West End" musical for a long while. And as for some of the dance! Talk about wobbly landings! This was not by any stretch of the imagination a great production. Scott Sussman was so wooden, too operatic and dare I say camp to be a credible Tony! They certainly made up for a lot with the set, but I would have preferd it to be the other way around. Top notch singer/actors/dancers and a less exotic set. It isn't my favourite show, but Bersnstein's score is memorable, why didn't he stick to writing musicals he was brilliant? Hey ho! This production, which premiered in Paris, wouldn't cut the mustard on Broadway the spiritual home of musicals and where I would only ever want to see a revival of this iconic, ground breaking, musical again. - rds
25 Aug 08
West Side Story is almost universally regarded as the greatest Broadway musical of all time but, given the insistence on retaining Jerome Robbins' original choreography, perhaps it should be re-evaluated as a contemporary ballet with songs. That was emphasised by a disappointing sound mix which meant that too many voices were swamped by the orchestra. It is also true that some of the exposition scenes are dull and dated. Despite those reservations this is an excellent production. The youthful (ish) cast dance superbly and it is a joy to hear Bernstein's fantastic score played by a large orchestra. Scott Sussman looks like a golf pro rather than a hoodlum but acts and sings well as Tony and Elisa Cordova as Maria has a touching vulnerability as well as a beautiful genuinely Hispanic soprano. It's impossible not be moved by the tragic finale and this is a very fine production of a great show, however it is categorised. - David Baxter
13 Aug 08
I've not seen WSS on stage before and so cannot compare it to the 1998 version, but I thought it was excellent. I don't understand how Coveney can describe it as "woefully dated" when the music, the book and the choreography are all the same as in the original. I must admit that the guy playing Tony was clearly singing with the aid of one of those voice enhancer things and he was a bit too polished, but that is just a minor quibble. - Steven
08 Aug 08
West Side Story is probably the greatest musical ever in theory, with a great story, great songs (literally every one is amazing) and great lyrics. Here the theory is put into practice with a wonderful production, and a truly spine-tingling evening at the theatre. Not a single dull moment, I felt I'd got my money's worth from the prologue alone. Go! - art87
30 Jul 08
am dumbfounded at the few stars-surely the score deserves 5* at the v least still knocks the socks off most so called musicals!!!!!!!roll on a chorus line when we will at last get another real muical on the west end stage--seems such a long time since we had one!! - Robert Page
Closed 23 June 96 to October 98 for a £48million refurbishment. On 3 Jun 1683 a Mr Sadler opened a pleasure garden at a country spring, this became known as Sadler's Wells. A wooden stage, later enclosed, there was known as Miles' Musik House. Theatre started in 1753. In 1765 a new theatre was opened. For a period it was the Aquatic Theatre with a floodable tank on stage, reverting to its current name in 1844. Closed in 1878 (had been a skating rink and a boxing ring). Re-opened 1879. Closed in 1906. Lilian Baylis opened a theatre there in 1931. Lilian Baylis was the niece of Emma Cons, the first woman member of the LCC and the freeholder of the Royal Victoria Hall and Coffee Tavern (now the Old Vic). Became a solely ballet and opera venue in 1934. Sadler's Wells was the original home of the Royal Ballet (then the Sadler's Wells Ballet) and the opera company from here moved on to the Coliseum. 1500 seats. Now has its own well back in use for the cooling system and bottled water. Very major refurbishment completed in 1998. Society of London Theatre member.
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