WEST SIDE STORY (2019 Revival) Preview Thread- Page 8

[BJR]

Posted: 12/11/19 at 8:50am

helvizz said: "I have to say, I'm kinda baffled no one's mentioned Anita. The way I see it, if the production's Anita is good, she can very easily steal the show. So, I have to ask: how is Anita in this? Has the role been diminished in any way with the cuts?"

Great question I've been thinking a lot about. As it is now, she does feel diminished. Some of that could be small cuts (not sure). But honestly, as of first preview, some of that is the performer. And I deliberately didn't get into criticizing anyone because it's a first preview (and this is a very young cast). She's an incredible dancer and I imagine she will grow into the performance. At the first preview, it felt like everyone other than Isaac was trying to stay afloat. They haven't found the rhythm of the show yet and where they can sit in the performance, breathe, where it has to drive. Right now, everyone is in drive.

 

[BJR]

Posted: 12/11/19 at 8:53am

joevitus said: "JBroadway, I wanted to add that your explanationfor the use of cameras and (semi)off-stage scenes is really helpful. Like others, I thought what's the point in watching things on a screen rather than live?But the idea of "safe spaces" verses hostile ones is really intriguing. Thanks."

Yeah, I had a similar thought. And actually, I found the live capture very compelling. If anything, I was less interested, more bothered by the pre-shot, music video style work they do during the Quintet and some other numbers.

[BJR]

Posted: 12/11/19 at 8:54am

songanddanceman2 said: "A bare stage, back wall lifts to reveal further sets, cameras film scenes and project.

So it's exactly the same ideas he used on All About Eve?"

He has a vocabulary. He had it for decades before you knew his name.

Not all writers, directors, designers, performers, artists need to be chameleons.

[barcelona20]

Posted: 12/11/19 at 9:06am

devonian.t said: "How I miss Whizzer."

I agree 100%. What happened to him?

[joevitus]

Posted: 12/11/19 at 9:09am

BJR said: "joevitus said: "JBroadway, I wanted to add that your explanationfor the use of cameras and (semi)off-stage scenes is really helpful. Like others, I thought what's the point in watching things on a screen rather than live?But the idea of "safe spaces" verses hostile ones is really intriguing. Thanks."

Yeah, I had a similar thought. And actually, I found the live capture very compelling. If anything, I was less interested, more bothered by the pre-shot, music video style work they do during the Quintet and some other numbers."

I get that. You want to see a production number done live onstage. Not just partially live.

[Mike Barrett]

Posted: 12/11/19 at 9:17am

barcelona20 said: "devonian.t said: "How I miss Whizzer."

I agree 100%. What happened to him?"

I know, this place feels lost without him. Always looked forward to their reviews on first preview nights. 

That being said, everyone who was there last night wrote very terrific reviews on their thoughts of this show. I appreciate all your insights! Very well worded and articulated, I'm hoping the discussions continuing this show can stay that way. Thanks again! 

[MemorableUserName]

Posted: 12/11/19 at 9:18am

barcelona20 said: "devonian.t said: "How I miss Whizzer."

I agree 100%. What happened to him?"

He said back in September he'd been traveling a lot but expected to be in the city through the winter:

https://forum.broadwayworld.com/readmessage.php?thread=1119153&page=2#5181737

But I don't believe he's posted since his review of The Inheritance a week after that, over two months ago.

Updated On: 12/11/19 at 09:18 AM

[Ledaero]

Posted: 12/11/19 at 10:13am

Didn't have time to type up my thoughts last night, but I was also at first preview last night. I really hope the discourse around this production starts shifting from outrage to excitement because what Ivo Van Hove has created is one of the most thrilling nights of theatre that I've seen in a while. This is the strongest reinvention of a classic that I've seen to date (sorry Fish), and my favorite production of WSS that I've seen on stage, second only to Wise's film adaptation.

Firstly, I want to clear up cuts that we've all been shouting about for the past few months. Most of the book is indeed in tact. The major cuts that trim the piece are a shortened Prologue and the Somewhere Ballet. They have cut the scene prior to I Feel Pretty as well as the song, so it jumps from the end of The Rumble to Chino going to Maria. Other than that, it's just small dialogue cuts that aren't noticeable unless you know the libretto like the back of your hand. Doc is NOT cut, that rumor can be axed right now. And no, there are not extensive cuts to female material in the piece, it's just always been male heavy and remains male heavy. The only female material cut is I Feel Pretty, and America is adapted to resemble the film where it is men vs. women rather than all women. They've actually even added a female character by casting Glad Hand as female, and they've also added what I presume to be a trans actor into the Shark Girl ensemble, so please stop giving this production identity politics BS especially when one hasn't seen it. There's a lot of fascinating representation going on in the piece and I hope people don't overlook it to be upset about what might not be there.

My thoughts on the production itself: it's currently on track for brilliance. There's still a lot that I think needs work and cleaning over the next two months, but the vision that Van Hove has created for the production is stunning. Setting it in contemporary times using a realistic approach makes the piece resonate. WSS has always been a dark piece and this exposes the real core of it incredibly well. It's a show about hate and the consequences of succumbing to it, and we get that all on full blast. Standout moments in relation to this are The Rumble, The Taunting, and The Finale. Van Hove also does really interesting work by including BLM and related movements into the piece by making Krupke abusively violent, incorporating cell phones appropriately into the show.

The video design is the best I've seen on stage. Everything projected onto the back wall is extremely effective. WSS is cinematic in scope and scale, and therefore it feels on point to do the work that Van Hove has done. He uses onstage live stream, offstage live stream, filmed scenic design, and video montage throughout. The angles and perspectives that he gets out of the cinematography are stunning and fuels the storytelling. Standout videos are the Tonight Quintet, A Boy Like That, Dance at the Gym, and everything in Doc's. 

The choreography is also wonderful. Keersmaeker has done some beautiful new choreography for the piece. Speaking as one who thinks Robbins' original choreo is some of the best ever, I didn't miss it at all. This production is an entirely different vision than the original and I would think it would be quite awkward if they actually start reinstating it with Trujillo. I love my finger snaps, but I hope they leave them out. My favorite of the new choreo is in America and Dance at the Gym.

I think the biggest issue this production is fighting at the moment is actually the original material itself. WSS, for me, is the quintessential piece in the MT canon that exemplifies all aspects of production informing each other (text tied to song tied to dance tied to direction, etc), and because of that there is a very specific hyper-stylization that exists everywhere. Van Hove has done remarkable work overcoming it by setting it in modern reality, but there are definitely still some awkward aspects that need tuning. The Jets dialogue/slang doesn't feel natural yet, as well as some of the Tony/Maria material (I think the Balcony Scene mostly). I also think the music should be re-orchestrated because the original orchestrations are just too operatic for this production and often fights the tone that Van Hove is going for. Also with the intermission axed and with the idea that this is meant to feel like a race against time, I think they need to follow the film and flip the placements of Gee, Officer Krupke and Cool. The musical comedy of Krupke (though very very dark in this production) stops the momentum right now. For that same reason, they should NOT reinstate I Feel Pretty or the Somewhere Ballet into the piece.

Overall, this production is stunning and I encourage everyone to go see it with an open mind. I plan on going back after opening as I anticipate major changes throughout the preview process. But this production is a powerful one, and I felt more deeply affected by the ending than ever before. 

 

[BJR]

Posted: 12/11/19 at 10:20am

Can I add to this: I will never forget the image of Isaac Powell running circles around the stage, in a full run, while singing Tonight. I don’t know how he does it and it was exhilarating.

[Ledaero]

Posted: 12/11/19 at 10:21am

BJR said: "Can I add to this: I will never forget the image of Isaac Powell running circles around the stage, in a full run, while singing Tonight. I don’t know how he does it and it was exhilarating."

Yes!!! One of my favorite moments of the night too. A wonderful and inventive way to represent his excitement in the song. It put a huge smile on my face, gave me an honest chuckle, and a little tear in my eye.

[joevitus]

Posted: 12/11/19 at 10:23am

Ledaero said: "Didn't have time to type up my thoughts last night, but I was also at first preview last night. I really hope the discourse around this production starts shifting from outrage to excitement because what Ivo Van Hove has created is one of the most thrilling nights of theatre that I've seen in a while. This is the strongest reinvention of a classic that I've seen to date (sorry Fish), and my favorite production of WSS that I've seen on stage, second only to Wise's film adaptation.

Firstly, I want to clear up cuts that we've all been shouting about for the past few months. Most of the book is indeed in tact. The major cuts that trim the piece are a shortened Prologue and the Somewhere Ballet.They have cut the scene prior to I Feel Pretty as well as the song, so it jumps from the end of The Rumble to Chino going to Maria. Other than that, it's just small dialogue cuts that aren't noticeable unless you know the libretto like the back of your hand. Doc is NOT cut, that rumor can be axed right now. And no, there are not extensive cuts to female material in the piece, it's just always been male heavy and remains male heavy. The only female material cut is I Feel Pretty, and America is adapted to resemble the film where it is men vs. women rather than all women. They've actually even added a female character by casting Glad Hand as female, and they've also added what I presume to be a trans actor into the Shark Girl ensemble, so please stop giving this production identity politics BSespecially when one hasn't seen it. There's a lot of fascinating representation going on in the piece and I hope people don't overlook it to be upset about what might not be there.

My thoughts on the production itself: it's currently on track for brilliance. There's still a lot that I think needs work and cleaning over the next two months, but the vision that Van Hove has created for the production is stunning. Setting it in contemporary times using a realistic approach makes the piece resonate. WSS has always been a dark piece and this exposes the real core of it incredibly well. It's a show about hate and the consequences of succumbing to it, and we get that all on full blast. Standout moments in relation to this are The Rumble, The Taunting, and The Finale. Van Hove also does really interesting work by including BLM and related movements into the piece by making Krupke abusively violent, incorporating cell phones appropriately into the show.

The video design is the best I've seen on stage. Everything projected onto the back wall is extremely effective. WSS is cinematic in scope and scale, and therefore it feels on point to do the work that Van Hove has done. He uses onstage live stream, offstage live stream, filmed scenic design, and video montage throughout. The angles and perspectives that he gets out of the cinematography are stunning and fuels the storytelling. Standout videos are the Tonight Quintet, A Boy Like That, Dance at the Gym, and everything in Doc's.

The choreography is also wonderful. Keersmaeker has done some beautiful new choreography for the piece. Speaking as one who thinks Robbins' original choreo is some of the best ever, I didn't miss it at all. This production is an entirely different vision than the original and I would think it would be quite awkward if they actually start reinstating it with Trujillo. I love my finger snaps, but I hope they leave them out. My favorite of the new choreo is in America and Dance at the Gym.

I think the biggest issue this production is fighting at the moment is actually the original material itself. WSS, for me, is the quintessential piece in the MT canon that exemplifies all aspects of production informing each other (text tied to song tied to dance tied to direction, etc), and because of that there is a very specific hyper-stylization that exists everywhere. Van Hove has done remarkable work overcoming it by setting it in modern reality, but there are definitely still some awkward aspects that need tuning. The Jets dialogue/slang doesn't feel natural yet, as well as some of the Tony/Maria material (I think the Balcony Scene mostly). I also think the music should be re-orchestrated because the original orchestrations are just too operatic for this production and often fights the tone that Van Hove is going for. Also with the intermission axed and with the idea that this is meant to feel like a race against time, I think they need to follow the film and flip the placements of Gee, Officer Krupke and Cool. The musical comedy of Krupke (though very very dark in this production) stops the momentum right now. For that same reason, they should NOT reinstate I Feel Pretty or the Somewhere Ballet into the piece.

Overall, this production is stunning and I encourage everyone to go see it with an open mind. I plan on going back after opening as I anticipate major changes throughout the preview process. But this production is a powerful one, and I felt more deeply affected by the ending than ever before.

"

Thank you for this great review. I think I might be responsible for the rumor of Doc being cut because I sarcastically said "cut Doc entirely" the other day in this thread (and I'd be fine if they did). If I am responsible, sorry. 

[Piparoo]

Posted: 12/11/19 at 10:28am

DramaTeach said: "I’m getting worried now. Not about seeing the production myself, but I’m bringing a group of young ones (12 years old), and this seems much darker than I anticipated. Aside from the Anita scene, anything else I should be aware of?"

My same questions/concerns.  My family and I have tickets for April and my eldest is 12 - mature for her age, but I'm not sure she's prepared (who would be?) to see a realistic rape scene portrayed on stage.  As much as I want to see this production, it may just be too intense.  Any advice from those who've seen it?

[Jeff Levine2]

Posted: 12/11/19 at 10:31am

I went last night and was completely floored.  I was in the rear mezzanine which is probably a very different experience from being in the orchestra.  I appreciated all of the video.  I'm not a theatre aficionado but I thought it was a masterpiece.  Brilliant.  I think it will be impossible to get tickets.

[Ledaero]

Posted: 12/11/19 at 10:41am

Piparoo said: "DramaTeach said: "I’m getting worried now. Not about seeing the production myself, but I’m bringing a group of young ones (12 years old), and this seems much darker than I anticipated. Aside from the Anita scene, anything else I should be aware of?"

My same questions/concerns. My family and I have tickets for April and my eldest is 12 - mature for her age, but I'm not sure she's prepared (who would be?) to see a realistic rape scene portrayed on stage. As much as I want to see this production, it may just be too intense. Any advice from those who've seen it?"

It's really hard to say whether this is something that you should or should not take your children/teenagers too, that's really a personal parental choice on what you think is acceptable for them to be exposed to. A colleague of mine (a recent mother) directed a production of WSS at a community theatre last year. The company made it a priority to invite local middle schools and high schools to come see the production, and in response to that the board wanted the director to tone down the violence and the Taunting scene. She spent months fighting them, arguing that it is important to keep the intensity of the scenes because otherwise the kids won't be able to see, learn, and interpret the horrors. Without it, no lesson would be learned and watering things down would leave the kids in ignorance. She ultimately won the fight and got to keep her direction, and according to her she received many thank you notes from teachers and parents thanking her for doing so because it led to wonderful discussions and conversations with the kids. On the flip, she also had some parents in outrage that she would allow kids to see it.

Point of that is, it's up to the parents to decide when those conversations should start happening. All I can really say is that this is all staged to be realistic. The rape is a rape (nothing graphic is seen, but off-camera intensity is rampant), the fighting is bloody, and gun shots are gun shots. There were walk-outs throughout the piece, particularly at those moments.

So take that all as you will, and I hope that can be informative to your decision.

Updated On: 12/11/19 at 10:41 AM

[jbird5]

Posted: 12/11/19 at 10:47am

GreasedLightning said: "ModernMillie3 said: "The production is nearly completely sold out through the holidays - in the Broadway Theater of all places. This is going to be a huge hit.

What an incredibly funny statement. It's "sold out" for the next 21 days. During the busiest season in New York, where every single show gets a huge boost. Not saying much. At all. Look at January, it plummets. A show that is divisive are rarely huge hits. This won't recoup or run for years, sorry!"

This is absolutely not true. Lol.

I just browsedthrough almost every Tues-Thurs in Jan and early Feb on Telecharge and most dates are incredibly well sold sans some seats in the rear orchestra/mezzanineon certain dates that will certainly be sold over the next few weeks. Weekends are sold even better.For a show that’s barely started previews in a house this massive, I’d barely call that “plummeting.”"

Plenty of seats on Stubhub.  Scalpers hit this one heavy.

[Mike Barrett]

Posted: 12/11/19 at 10:49am

Wow, these reports are really making me think this is a must on my January trip, especially considering I don't have a ton of other options currently. I was hoping this would be the response, but we shall see. Very exciting stuff, love a thrilling and exhilarating evening at the theatre. 

For someone who has never seen WSS on stage before, how do you think that will impact my viewing experience? I know everything is subjective, but I'm curious to hear from people who were there last evening what they think this show would be like for a first timer. 

[LizzieCurry]

Posted: 12/11/19 at 10:50am

Another fairly thorough post: https://www.talkinbroadway.com/allthatchat_new/d.php?id=2474583

(Also, thanks, mods, for the new posting format that generates clickable links!)

[JSquared2]

Posted: 12/11/19 at 11:45am

ModernMillie3 said: "This is absolutely not true. Lol.

LOLOL. Except it is. I guess you didn't read the many, many posts about the amount of tickets being held back for this production, especially in previews. It's a lot. And, it's ridiculous to think anything is a hit after ONE preview. Additionally, if you think December and January sales are enough to make this a huge hit that recoups within 6 months and runs for years...........you are sadly delusional and mistaken.

This will fail and not recoup. Enjoy Amar, though. He may miss a few dates in January when he's in court, though!"

LOL!   Sure, if you say so honey.  Now run along -- I'm sure you have a busy day of trolling ahead!  Have a blessed day.  

[nasty_khakis]

Posted: 12/11/19 at 12:22pm

Without having seen it, Anita usually steals the show because she's the only character with jokes. I'm not saying no other character gets laughs, but she has the written sassy/sarcastic parts. The Peter Gennero "America" choreography also is designed to showcase her and be a show-stopper. They build her up to the audience to like her and then when she's raped/attacked you really feel for her. I imagine some of the jokes are cut (because jokes aren't "gritty/real/modern" *eyeroll*) and the new America staging likely isn't as exciting yet. 

I'm also one of the only people who really didn't care of Olivo's Anita though. I worked front of house and heard/saw her many times (when she went on) and she never played anything other than an angry eye roll. I was never on her side and didn't think she found anything new with the role other than angrily shouting everything. It was also fun to watch her understudy go on because you could see the other girls no longer holding back and doing the real choreography. 

[Jarethan]

Posted: 12/11/19 at 1:01pm

QueenAlice said: "Fish cut almost all the choreography out of Oklahoma along with all the music that went with it.And Agnes DeMille’s contribution to that show was right up there with Jerome Robbins’s on West Side Story. To say Fish didn’t cut anything is to miss the point completely. Yes he did. He cut a lot."

Personally, I have always viewed the DeMille choreography as one big bore, and welcomed its elimination.

[orph3us]

Posted: 12/11/19 at 1:13pm

longtime lurker, first-time poster here. it makes me really happy to see all the praise for Isaac. I've always loved his charisma and stage presence, and what a voice he has, and I'm glad he's finally in a role where he can showcase that fully, and hopefully get attention during awards season. I don't think I'll be able to see this show soon due to geography but I hope they release B-roll and a cast album so I can see/hear parts of his performance. A few questions, on his Instagram story there was an image of him soaked in blood, how was his death staged. Also, he appeared to have fake tattoos. is this true for all the jets?

[Jarethan]

Posted: 12/11/19 at 1:26pm

GreasedLightning said: "I just HAVE to ask... was Amar booed at curtain call?

No need for further discussion, a simple yes or no will do. "

Do you REALLY believe that more than 0.1% of the audience knows what he has done?  As I have said before, the people on this board bear no resemblance to the typical theatre going audience.  The only impact his presence will have wil be based on the quality of his performance.

 

Updated On: 12/11/19 at 01:26 PM

[QueenAlice]

Posted: 12/11/19 at 1:38pm

I hate to say this but Anita also usually stands out because, on stage, more often than not, the actors playing Tony and Maria lack charisma and chemistry. That was certainly true of the last Broadway revival.

[Ledaero]

Posted: 12/11/19 at 1:41pm

orph3us said: "longtime lurker, first-time poster here. it makes me really happy to see all the praise for Isaac. I've always loved his charisma and stage presence, and what a voice he has, and I'm glad he's finally in a role where he can showcase that fully, and hopefully get attention during awards season. I don't think I'll be able to see this show soon due to geography but I hope they release B-roll and a cast album so I can see/hear parts of his performance. A few questions, on his Instagram story there was an image of him soaked in blood, how was his death staged. Also, he appeared to have fake tattoos. is this true for all the jets?"

Pretty much all gang members have tattoos, if not all.

As for Tony's death:

 

Click Here To Toggle Spoiler Content

When he is told of Maria's death, he stands center stage in the rain shouting up to the mezzanine for Chino to come kill him. Eventually Chinos start to sneak up behind him from USL while Maria is coming down the aisle in the orchestra towards Tony. Just as Maria is about to step onstage to be with Tony, Chino shoots Tony from behind and blood bursts out of Tony's chest, staining his shirt. The gunshot is loud and a blank cartridge drops from the gun and lands on the stage. Maria goes to Tony and they sing the Somewhere Reprise a capella, very broken and painfully. 

 

[WiCkEDrOcKS]

Posted: 12/11/19 at 1:42pm

There is definitely no lack of chemistry between Maria and Tony in this production, thankfully.