WEST SIDE STORY (2019 Revival) Preview Thread — Page 18

Saw the matinee today - packed house. Maybe some spoilerish comments below, so you may want to skip the following review. So, I really enjoyed Van Hove's A View From The Bridge, somewhat enjoyed the Crucible and skipped Network. Was not sure how I'd feel about his WSS, as I truly love the original, esp. the classic Jerome Robbins choreography, but I was excited about the possibility of a fresh take on this musical.

I am glad I saw this, though it was a mixed bag for me. While I adore the original, it was time for an update and I thought they modernized the costumes well, and I loved most of the new choreography. The stare downs of the opening number, the thrilling dance at the gym, the Jet Song, all very well done and brought an aggressive urgency to the moves. America was energetic, funny and the audience loved it. I truly hope they keep Anne Teresa Keersmaeker's choreography for this production.

I could have done without the video. I found it distracting in the opening number. It worked better in Tonight and in providing a background for certain scenes, moreso than giving us super close-ups of people onstage. I REALLY did not enjoy seeing the camera people onstage, though it was only a few times and they tried to be unobtrusive, but it broke the moment for me. I didn't see a point in having the dress shop and doc's so far to the backwall then projecting what went on inside on the screen.

I was very disappointed when I realized last week that we would not be seeing Isaac Powell, as we very much enjoyed him in Once on this Island and were excited to see him play Tony. Instead we had his understudy, Jordan Dobson, and he was a delightful surprise! I've been disappointed in understudies in the past, but not this time. Jordan's Tony was winning, charming, likable, and a fresh take on a part I was never too crazy about before. Loved his "Something's Coming" - he sold it, as well as the budding romance with Maria. Looking forward to see what this promising young man does next!

Shereen Pimentel has a lovely voice, and I enjoyed her sassier Maria. It was nice to see a young Maria who is spunky and not such a delicate flower, but a little more pathos after finding out about her brother's death was needed.

Ben Cook was a fine dancer, very athletic, and I enjoyed his acting, but his singing voice is not quite up to what it should be as Riff. Also, his speaking voice is a little higher than what you'd expect, and I think that worked against him at times, but overall I was okay with his portrayal.

And say what you will about Amar Ramasar, he may be a complete a****** in real life, but he is an excellent Bernardo and he sells that part completely. His dancing is first class, and when he is onstage, he's earning his keep. His offstage transgressions may prevent him getting a Tony nom, but his performance will not - he's very very good in the role.

I liked Yesenia Alaya's Anita. She looks the part and she's a wonderful dancer, a good foil for Maria. It was great seeing such a racially mixed cast. It worked. We never had an issue with who were Jets vs Sharks. It was nice to see a mix of sizes, styles, skin tones, etc. We particularly enjoyed the guy playing Action. If there was one small quibble, we felt that some of the Sharks' accents could have been stronger.

Really liked the updated take on the Officer Krupke number and the use of video there. I was a little concerned from what I had heard, as I come from a strongly blue family full of cops, but I did not find the number to be offensive, it reflected a lot of the current attitudes of urban youth towards LEOs today (and let's face it, Krupke is a complete jerk in this show). I did think the adults in the show were a little one note. Gladhand was the exception, it was interesting seeing a female in the role.

We were not crazy about the rumble. The rain felt unnecessary and a little too Ivo (and what was up with ONE guy wearing an animal mask? And one w a bandana over his face while no one else had them? It did not work.) Also, it may have been because we were in closer orchestra seats, but Bernardo's death was a bit hard to see and not as sudden or shocking as in other productions. We also were not crazy about the filming of the Taunting. The end, with the interplay w Chino and the gun was very well done.

The pacing was good, we felt it only slowed down a bit during A Boy Like That. The bare set and video did not help that number. Did not miss I Feel Pretty or the Somewhere ballet in the least.

We were seated in the 4th row center orchestra and while I don't think we missed anything, we did have to crane a bit to see actors when they were prone. I'd like to return in a few months when Isaac Powell is back to see how the show's been tweaked, and see it from the front mezz.

Overall, I would recommend the show, which I think would appeal more to teens than another repeat of the classic version, despite some misfires with the directorial choices. It's not as consistently well done a remake as Oklahoma was, IMO, but the dancing is thrilling and most of the cast is strong. It will be interesting to see what, if any, changes occur by opening night.

Updated On: 12/29/19 at 09:47 PM

I think the further back you are, the better all the video works. I've been thinking since yesterday, comparing this to the new Cirque show R.U.N. playing Luxor in Las Vegas which uses similar stage methods: live filming of stage actions broadcast on big screens, & actors moving into small rooms off-stage with the actions inside those rooms filmed and shown onscreen. In the Cirque show it doesn't work as well, because what is shown onscreen is a bit grainy and has different effects layered overtop. Here in this WSS, the screen image is very clear & high definition, and comes across as almost documentary. The Cirque show suffers because it has a very bad script, very bad choreography of dance numbers ( dancers just pop and lock, pop and lock), & the violence is excessive & gratuitous. In this WSS production I felt the violence is realistic, without being gratuitous. But it is violence, it is not prettified. It could be right off the street today. For example, here's a video that made all the news in Vancouver last month, where our youth gang wars are mainly between rival Punjabi groups over control of cocaine & other drug turf.

http://youtu.be/AP0mL6XycFc

Updated On: 12/30/19 at 01:41 AM

VintageSnarker said: " Are the camera operators plainly visible? I'm picturing a Bat Out of Hell kind of thing"

The thing is, bat out of hell was such a campy, over-the-top show that it all felt very tongue and cheek, like an 80s MTV video, and the video cameras did not seem out of place. I didn't feel the same way about seeing camera operators in West Side Story. They were not as noticeable or as prominent in WSS and I felt that they were trying to be more unobtrusive when in view of the audience. I didn't really see any camera operators who were filming the shots inside docs and the bridal shop, unlike in Bat out of hell where the camera people filming in Ravens bedroom were seen prominently. I don't think the intention in West Side Story was at all the same regarding the camera people's visibility.

One could argue that in parts of the show the director may have been making a statement about the use of filming, given that in one scene several of the gang members pull out cell phones in order to videotape and intimidate officer krupke while he is interacting with them, and certainly filming is a big part of the show. I just felt that seeing the camera operators onstage in WSS was more intrusive than it was in a very silly show like bat out of hell, or perhaps a show like Network, which I did not see, where cameras would be much more natural in a show about the television industry.

Updated On: 12/30/19 at 07:29 AM

VintageSnarker said:
Hearing about women having their lines and songs cut while the show also includes a brutal rape scene just makes me feel tired.

It has been a couple years since I have seen a traditional WSS. I didn't notice any other lines cut than the "I feel pretty" scene. The rape/taunting is not any more brutal than in any other production. It mostly happens inside Doc's store, & I felt it was filmed tastefully.

The violence that is more realistic is during the rumble.

Updated On: 12/30/19 at 09:54 AM

Eddie3 said: "[Shereen Pimentel has a lovely voice, and I enjoyed her sassier Maria. It was nice to see a young Maria who is spunky and not such a delicate flower,

I had forgotten about Maria's lack of concern when her brother was killed. Yes, she needed to express some grief there.

So Bernardo? This a-hole older brother who brought her over from P.R. only to stick her working in a sweat shop, and pimp her out to his loser buddy Chino. Bernardo who has one of his girls, Anita, policing her every move and telling her what sort of dress she is allowed or not allowed to wear, & who checks in on her & throws a fit if she locks her bedroom door to get a bit of privacy.
Yes, please tell me why she isn't a little more sad when her pimp owner, brother is dead?

Also, please tell me how Ivo Van Hove was ignoring real world issues when he cast Amar Ramasan to play a piece of crap brother who sees his younger sister as a piece of property to use for whatever financial gain he can. He cast him so anyone aware of his personal history would already be sitting in the theatre ready to loathe Bernardo, waiting to see Bernardo get his face caved in. (you don't see that, but you know...)

Updated On: 12/30/19 at 11:16 AM

Wow, people are really turning out to boo Amar at curtain call?!

https://www.broadwayworld.com/article/WEST-SIDE-STORY-Has-Broken-All-Time-Broadway-Theatre-House-Record-20191230

VintageSnarker said: "Is the onstage rain because he's Belgian? Not that it doesn't rain in New York but it's... not really a notable thing.

Hearing about women having their lines and songs cut while the show also includes a brutal rape scene just makes me feel tired.

I dealt with the camera work in Oklahoma! but I could have done without it. I assume the stage is more brightly lit in West Side Story. Are the camera operators plainly visible? I'm picturing a Bat Out of Hell kind of thing.

I am intrigued that some parts of the show that I have found clunky to modern sensibilities are being described here as more naturalistic in this production.

If you're wondering why I'm reading this thread when I've repeatedly expressed how little I want to see this production, it's because a friend really wants to see it."

I really dont remember camera work in Oklahoma. Can you refresh me where it occurs.

Here's a question, there's currently some cheap tickets on stubhub for when I'm in town, but I was planning on playing the little shop lottery and then trying my luck at TKTS. Is an $80 rear mezzanine seat worth missing the lottery/tkts? Or is the seat not good enough/not worth the price? I would really like to see little shop, but I've already lost the lottery once and am feeling sort of disillusioned(why waste my time?). Is little shop good enough to justify lottery/tkts, or is a rear mezzanine seat the way to go.

benfox2 said: "Here's a question, there's currently some cheap tickets on stubhub for when I'm in town, but I was planning on playing the little shop lottery and then trying my luck at TKTS. Is an $80 rear mezzanine seat worth missing the lottery/tkts? Or is the seat not good enough/not worth the price? I would really like to see little shop, but I've already lost the lottery once and am feeling sort of disillusioned(why waste my time?). Is little shop good enough to justify lottery/tkts, or is a rear mezzanine seat the way to go."

Are you asking if you should wait and see if WSS is on TKTS? Have you checked Telecharge to see how many tickets are left on that date? This is not going to be on TKTS once word of mouth starts to build.

This production is designed to play to a huge theatre. Take a look at the website Aviewfrommyseat, though it won't have WSS views yet. The seating chart for this theatre on this website (BroadwayWorld) isn't accurate so don't refer to it.

When I picked up my tickets, there were people in the other line for future sales trying to get tickets, and it sounded like there was nothing immediately available.

The people ahead of me in line picking up , I noticed their tickets were priced at $0, so being a nosy tourist I asked how they got comp seats, and they said that they were involved with the show. Their comp seats were up in the mezz. I said, "And that's the best they can do for you?" He shook his head and said "This is a tough show to get tickets to."

benfox2 said: "That is not what I’m asking lol, but thanks. I’m trying to ask if a rear mezzanine seat is worth missing the little shop lottery/whatever show I buy from tkts."

Yes. I paid $50ish on stubhub for the BACK, BACK row of the Mezz. I had no problem seeing anything besides like the top foot of the back screen. Most action takes place at the front of the stage so I say save the coins and get a cheap seat.

Updated On: 12/31/19 at 10:35 AM

Close ups were projected on the back wall. They used a night vision setting so you could see both actors faces quite clearly in black and white. The acting during this scene was pretty terrific.