WEST SIDE STORY Reviews.... — Page 5

Thanks Miss P.

Ljay, it's not!!! I was like, "it's back!!" Although it is smaller, but still very noticeable.

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Are you sure you want to do lotto with me?? My name never seems to get picked even when the odds are on my side!! LOL

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Sure.

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They take names between 6:00 and 6:10. The names are drawn at 6:30. Can't figure why they don't take names up until they're drawn.

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"I'm surprised that critics haven't mentioned the uncommonly large number of musicians in the pit and the contribution they make to the show."

Probably because around half of them are backstage somewhere and piped in--and you can tell. Why anyone would hire that many instrumentalists and not let us hear them for real is beyond me.

By the way... is anyone else wondering why Arthur Laurents is so hell bent on making this production gritty, with the gang members killers? Aren't they supposed to be kids? I'm never going to believe any of the Jets at least are cold-blooded killers when they have the dialogue and character names they do.

And by the way, I've seen the show. It's slow as molasses and pretty miscast. I didn't care for Cavenaugh, but Cody Green is downright embarrassing.

Of course the fact that the Jets' rumble costumes have them looking like they're on the way to some gay nightclub isn't helping much either...

"They could be the neighborhood cops on the old Abbott and Costello show. But they bear no relation to police today.

And Doc and his candy store don't exist anymore."

Of course not. But since when is WSS supposed to be contemporary?

The show was written in the late 1950s and it's supposed to reflect that time period, not today's.

Updated On: 1/10/09 at 06:53 AM

I thought one of the striking things in the new production is that the adults are a little more vivid. The cops are more grim and stinging than I remember. It's very effective. Doc is played beautifully, sad and helpless at what's become of his world. Even the MC at the dance makes an impression, funny but not in the usual buffoonish way. Who knew?

I'm not sure it's the fault of the actors or in the writing of Lt. Shrank or Officer Krupke. I really liked the actor who played Doc. I'm still not keen on Cody Green's Riff.

Sleeper2, I'm not sure who your comments are being aimed at. I feel that the reviews were better than I expected, and it will be interesting to see if Arthur Laurents addresses anything when the production goes to New York. I have a feeling it's frozen for the remainder of the run in DC.

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Here is Gary McMillan's Review of WSS on www.dctheatrescene.com.
If you want to read all the reviews in one place, click on "THEIR REVIEWS: when you get on the site. Joel

"The National Theatre is home to a good-as-gold Golden Anniversary production of the Laurents-Bernstein-Sondheim-Robbins classic musical West Side Story. For those who missed the 1980s revival or were too young for the 1957 original, it’s hard to imagine a more visually stunning production.

The soaring score, here under the musical direction/supervision of Patrick Vaccariello, will take your breath away. Joey McKneely’s faithful reproduction of the Jerome Robbins choreography married to Leonard Bernstein’s emotionally-charged melodies is a feast for the ears and eyes. If there was an American tradition of demanding scene encores, the run time of this show would likely clock in at well over four hours. Laurents has assemble a young cast fresh from youth-oriented, high energy Broadway and touring shows (such as Grease, Hair, Mama Mia!, Movin’ Out and Footloose) and/or work with the likes of Ricky Martin, Janet Jackson, Usher, Gloria Estefan and Rihanna. These young performers burn the floor with the modern dance and Latin-inspired choreography. From the opening scene, the dance bristles with tension anxious for an outlet and it continues to build in excitement as the show progresses.

It’s often remarked that West Side Story succeeds because the characters of Anita and Bernardo add flare that’s lacking in Maria and white-bread Tony. Both flare and firecracker, Karen Olivo sizzles as Anita and intentionally and otherwise becomes the focus of attention whenever she is on stage. After her captivating performance as Vanessa in the Tony Award-winning In The Heights, she fills Anita’s heels like Cinderella fit that slipper. She’s sassy and sultry with a set of pipes to serve up the song “America” in a style all her own. Hers is definitely an “above the title” performance..."


Gary McMillan on West Side Story on DC Theatre Scene

To the poster who mentioned some of the music being piped in, I had no idea that some of the orchestra was in another room. I was wondering why an orchestra with so many pieces didn't sound as vibrant as I would have expected.

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Oh, I see where you are coming from PalJoey.

In re-reading your original post I have to agree with your assessment. Sorry for the misunderstanding.

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Updated On: 1/10/09 at 02:58 PM

I didn't say a "90-year-old man."

I said a "16-year-old pit bull."

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