I saw the evening performance of WSS yesterday and agree with everything Mamie wrote above.
Matt is terrific and sounds wonderful, the dancing is awesome and strong, and Karen is brilliant.
I don't like the switch of Krupke and Cool, and thought Boy Like That should be in English since the scene is pivotal for everything that occurs next.
I have to say, given the pathetic bitchiness and trifling comments on this board especially about Matt, I was expecting the worst. However, this show just needs some tweaking (as Mamie points out) and it will transfer well to Broadway.
Wait, aren't KRUPKE and COOL still in their original spots? COOL in act 1 and KRUPKE in act 2.
Yes - original to the play. We were all referring to the placement in the film. It just made more sense the way it was done in the film and it was easier to accept. I thought "Cool" is OK in the first act but it was BRILLIANT when performed after the rumble. Placing Krupke after the rumble pulls you out of the scene and is jarring. I don't care if this is the order of the original production. Someone should admit that it's better reversed and make the change.
Someone should admit that it's better reversed and make the change.
That "someone" is the original book director, and it will NEVER happen. Arthur insists that Krupke belongs after the Rumble because Shakespeare always had a clown come in for comic relief when the tragedy was at its peak.
Arthur refuses to believe that Ernest Lehman's screenplay actually IMPROVED on his script.
It was easier for Arthur to forgive Patti LuPone than it would be for him to admit that Ernest Lehman was right and include Lehman's improvements in the script for the stage show.
That would also mean that Lehman (or his estate) would be eligible for a significant portion of Arthur's royalties--and an even more significant portion of the credit for the musical's book.
That's too bad. But as I said - it's OK but it misses being brilliant.
I told you you'd like it, Mimi!
You were absolutely right, Miss P. I enjoyed it very much. Thanks for the great advice!
btw PJ - someone needs to point out to the director that this isn't the 16th century. The story is classic and will live forever. The ways to present that story will never stop changing. If we're going to be true to Shakespeare's presentation, then get rid of Karen and Josefina and replace them with boys. (And don't forget to bring lots of ripe fruit and vegetables for throwing at the stage when the Jets start singing "Gee, Officer Krupke" after the rumble.)
And in the words of Harvey Milk, You gotta give the people HOPE!
I've always believed the major theme of WEST SIDE STORY and ROMEO AND JULIET is that the families may start to realize that their fued is pointless and only senseless murders can help both clans to see they have more in common than they thought.
But not in this production.
CPD and Mamie--I think Jerome Robbins and Leonard Bernstein would agree with you.
I don't necessarily think that the ending has to be "overt" to suggest hope. Perhaps Laurents is saying something about how the love between two individuals can transcend the ills of "humanity." Change doesn't "magically" occur because someone is murdered. It is only possible if it is deeply rooted in the individual despite war, prejudice, injustice, violence, abuse, poverty, greed...even death. You know, something like that.
Maybe he's making a very personal comment based on his own life and what he has experienced in the past couple of years. He wouldn't be the first person to believe that each human being has the free will and power to transform the world but that it is a process and always will be.
I have no idea why I'm trying to find a plausible argument to support Laurents' choice here. I hated what he did with GYPSY. But what the hell. I thought I'd take a stab at it.
But Miss P.
It's isn't a magical change
It's a part of the process of AMERICA.
And they only have Two and a Half hours to do it.
And I don't think it's overt when the guys jump in a
few seconds before the curtain.
I mean it may have taken us a long time to take steps against
prejudice but WEST SIDE STORY was one of the first to tackle that problem and they should be proud that they were and are a part of that.
Why take a step back?
CPD, I hear you. I'm just making an attempt to understand why these changes have been implemented.
I'm not "attached" to WSS the way others are. (I do have my "attachments" though! And I am very unhappy when something I have deep affection for is mutilated, altered or misinterpreted. But this thread isn't about THOSE shows!)
Anyway, since I haven't had the "relationship" with the show that you have, the new WSS ending doesn't bother me so much. I guess I like when plays end ambiguously. Or on a sad note. I suppose I have such a giddily happy existence that the draw to "the other side" is my only opportunity to experience sadness in a meaningful way. (HA! Sarcasm is my BFF.)
Honestly, I'm more upset about his cutting the dream ballet than anything else!
Have you seen it only once, CPD? I ask this because sometimes when you see something like this a second time, you have a different perspective on it. Your expectations are different, so you're not as disappointed, you know what I mean?
I'm going to try to see it again this week myself.
The part of the Robbins staging I'm most attached to is the transition from the dress shop to the Dance at the Gym. I watched Jerry Robbins drill the dancers and the musical director and the stage manager and the lighting designer over and over again until those girls twirled perfectly and those streamers fell down on exactly the right beat of the music.
If that's sloughed over, I'll be even more upset than about the final tableau.
Yeah, I only have seen it once.
And I gave it props in my first opinions.
OBAMA and such has made MEGABUS impossible,
I wanna see it again.
What about next weekend? You should be able to get here then. The inauguration is a whole week later!
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