Scenes from 1980 WEST SIDE STORY revival — Page 3

Wow. I just noticed this in my copy of Deborah Jowitt's Robbins biography:

Peter Gennaro, who was adept at Latin rhythms, staged "America"--in which Anita quashes nostalgia for old San Juan--choreographing the vibrant dance that grew out of it for Shark men and women. Robbins took the men out of the number, thus giving the show a women's group to balance the dominant warring males and turning "America" in a dazzle of swishing skirts, rapidly flicking feet, and scornful female tongues.

So the structure was Robbins's and the steps were Gennaro's.

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Robbins must have had some spell over Gennaro to get him to sign something as outragous as that.

Pal Joey, that is great info. How do you know all this? Fascinating stuff!!!

Did Mary Elizabeth Mastrantonio ever go on as Maria?

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Bumped for theaterkid1015

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It was a "segment" from JR's B'Way, which was a revue.

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Bump for N2N Nate

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The 1980 production of WSS was absolutely stunning. I was walking on air when I left the theater. I bought my first and only windowcard that day, and it hung on my bedroom wall until I moved to the city four years later.

Josie DeGuzman was wonderful—that voice! Funny thing to recall, but her feet looked so big, I thought she was wearing pointe shoes.

Debbie Allen was a force of nature on that stage. Her dancing was incredible, but what will always stick with me was her acting—without words. In the scene where Anita knocks on Maria's door after the rumble, and the realization that Tony is in there with her hits Anita, the change in the body and face of Allen, from panicked concern to livid disgust, as if she'd been slapped in the face, was so powerful it was scary. When Maria opened the door, the electric glare on Allen's face, and the way she stormed to the window to confirm her suspicion and whirled to face Maria, was heart-stopping. I knew the story, but I was suddenly convinced that maybe I didn't—that Anita might actually kill her. All without a single word.

How much of that would you chalk up to natural talent, and how much to the book director and his assistant? :P

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I remember vividly Gerald Freedman working with Debbie on that moment before the scene with Anita, but I chalk it up to the force-of-nature that was Debbie at that point in her life.

Interestingly, in rehearsal, she was always eager to take bits of direction and choreographic flourishes from the multitudes of people who were there: not just Jerry Robbins (who seemed more at ease communicating with her than he was with any of the other performers) but also with Jerry Freedman and Peter Gennaro and Lee Theodore and Tommy Abbott. And then there was that day that Chita came by the rehearsal studio and gave Debbie the little attitude adjustments (like the pregnant stagger and the hurricane move) and dress flourishes. Another actress playing a role like that might have had an understandable diva attitude toward getting so much input from so many people, but Debbie was like a gracious sponge, always taking the input and making it her won, always excited and always appreciative.

By the time the Four Creators came by rehearsals, they disagreed with each other on virtually everything. But the one thing they all agreed on was that Debbie was perfect--even Arthur, who had nothing but scowls for everyone else involved.

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PJ was assistant to Gerald Freeman. PJ you should tell them the Jerry Robbins story you related to me.

Bumped for the 60th anniversary!

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