Posted: 6/15/23 at 4:37am
Just back from a Chicago business trip where I had the chance to catch this, and WOW - what a tremendous production. Big, beautiful, with that gorgeous score and absolutely tremendous leads in Ryan McCarten and Kanisha Feliciano. I only wish there was a space big enough here in the city (aside from the Met) to transfer this ASAP. If you’re in the Windy City in the next few weeks, go!
Posted: 6/15/23 at 7:29am
I posted in the Theater in Chicago board, but I had the opposite reaction (granted WSS will never be my favorite show as I think it’s all broad strokes and hard to care about anyone). My main take away was that I wanted everything louder. Such a big giant orchestra but it all felt very contained. Leads were good, Tony had a great voice and Maria was a great actress but less of a powerhouse singer. Anita is usually a standout and I think she was great but the staging let her down. Overall it’s enjoyable but I think the director phoned this one in. Like, when Officer Krumpkeke comes looking for Chino and he’s alone in Maria’s room with her? Like huh? Just a grown man rooting around a young women’s room? The whole second act felt weird. There wasn’t enough room in that set piece. All the transitions felt so off too. There was no flow. And Doc may have given the worst performance I’ve seen ever. Ever word does not need a hand gesture. But maybe that’s Opera acting.
Posted: 6/19/23 at 1:51pm
I really liked this production. I don't have a lot to compare it to, because I'd previously seen WSS only once many years ago. But I was impressed with the performances and, for the most part, the production values.
Unfortunately, as RippedMan mentioned, there was something wrong with the volume (it seemed too quiet), and that made it hard to appreciate the vocals. From what I could tell, all the principals had good voices, but the sound didn't project the way you expect in a musical like this. That was disappointing, but I still enjoyed the show.
**SPOILERS ahead**
The two leads (McCarten and Feliciano) had loads of charisma and good chemistry. I particularly liked the scene where they meet at the dance, as well as the scene in the bridal shop where they have the faux wedding. I also loved Amanda Castro as Anita.
For me, the sets, costumes, and lighting all enhanced the show. When Tony sings "Something's Coming," the light gently fades to amber, and I felt like I was in NY on a hot summer night. Similarly, "America" is thrilling; the incredible performance by Castro is heightened by the dancers' dresses (the best being Castro's red satin dress), the evening light, and the trappings of the city street.
I actually liked most of the transitions. For example, I thought the segue into the dance at the gym was impressive and seamless. The only transition that I thought seemed off was during "Tonight," when they begin singing in Maria's room, then we see the dancers outside, then we return to Maria on the fire escape. I thought that seemed choppy.
Unfortunately, I found the assault of Anita to be almost unwatchable. I guess it was effective, and I don't know if the Lyric presentation was any more graphic or disturbing than that of other productions, but it was my least favorite part of the show.
The finale was fantastic. Feliciano was heartbreaking, and I've decided that I would love to see her in other musicals. Apparently, she was a Christine u/s at the end of the POTO Broadway run. I'd love to see her in that role.
A note on this theater: I thought that the rake in the orchestra section was very shallow. I don't usually find myself bothered by other people's heads in front of me, but I was this time (and I was only in the fourth row). The orchestra pit is also very deep, so if you got a front-row ticket, you would still be a good distance from the stage. Next time I visit this theater, I'm going to try for that.
Updated On: 6/19/23 at 01:51 PM
Posted: 6/19/23 at 5:20pm
I was in the first balcony all the way in the back and honestly thought it was a fantastic view. I just wish the sound was fuller. It felt so far away.
The transition that bothered me the most was the scene with Doc and Tony in ACT and it’s like a blackout and we have to watch Doc do this long exit and then watch them bring on this set piece. They should have pulled them downstage set up the set and then as soon as the scenes done. Lights up on the next scene. No dead air to kill the momentum and tension.
Posted: 6/20/23 at 2:44am
Ryan's rendition of Something's Coming is a tour de force. His electric stage presence radiates with restless energy, mirroring the character's yearning for something beyond. His passionate vocals soar, infusing the song with an infectious anticipation that electrifies: https://www.youtube.com/watch?v=ZZBAeG_YD_c small world cup
Posted: 6/24/23 at 5:24pm
It was announced at curtain at the matinee Ryan wouldn’t be performing. Made the trip from Maryland to catch him. I had to fight very hard for a refund.
Posted: 6/24/23 at 6:17pm
You came from Maryland why not just stay? His performance is fine. Good signing voice but Tony will never be a great acting part. But the production is great.
Posted: 6/24/23 at 6:19pm
This always makes me wonder what current musicals will be performed by opera companies in 50 years. I feel like Phantom is obvious, but I’m not sure what else would play in that environment.
Updated On: 6/24/23 at 06:19 PM
Posted: 6/24/23 at 6:21pm
I did wonder if my expectations were too high regarding performances given it’s an opera company and opera typically doesn’t have fantastic actors - because the music and singing comes first, I get it.
