#1
Posted: 1/6/10 at 11:35am
Having last seen West Side Story on stage during my freshman year of high school and growing up watching the movie, I was both excited and skeptical of the 2009 Revival production. I was excited to see modern performers like Karen Olivo, known for her work in musicals that couldn't quite be classified as "golden age" material, take on one of the greatest female roles in American theater. I was, however, also skeptical because of the negative buzz surrounding the production: numerous cast absenses, the deletion of some Spanish dialogue, and Arthur Laurents's belief that his productions are better than God.
Expecting to see a lifeless revival, I was FLOORED by the production last night. Every moment, every beat, every word, every action had purpose. The production was flawless. My girlfriend, who bought me the tickets for Christmas, enjoys theater but isn't as interested in it as I am. However, we spent hours last night talking about the different choices made by the director and the actors which expresses a great deal about the production.
Having been less than impressed with Matt Cavenaugh on the cast recording (I mean, seriously, hasn't this guy gotten tired of playing Joe ?Kennedy yet?), I was excited to see that Matthew Hydzik's performance was fresh, intimate, and ultimately very moving. The choice to has his last words as he dies in Spanish was brilliant in my opinion because it's showing A) that he's giving his life up because of cultural differences, and B) the two cultures are finally becoming integrated. I've never particular enjoyed these ending moments of West Side Story because I found them to be superficial. Whether than comes from the writing itself or its prevelence in pop culture (i.e. Ugly Betty) I'm not sure. However, this moment truly captured the sentimentes of "the glooming peace" from Shakespeare's Romeo and Juliet.
Maria was played by Haley Carlucci, who wonderfully captured the character's innocence. Matt and her ability to thrive in the moment and create a sense of passion, while still relatively new in their roles, was icredibly impressive and reflects the power of live theater. One thing that has always baffled me about this piece was how quicky they fall in love and how much it hurts. I understand the relation to Romeo and Juliet and the powers of love and first set etc etc. However, this production never allowed me to question logistics. I was there, with the characters, in moment and along for the ride. Every moment and emotion was felt so clearly thanks to these brilliant performers.
Karen Olivo has a stage presence that you can cut with a knife. From her first appearance in the shop, the audience can discern that she is a force to watch out for. Each of Anita's moments, from the gym to America to her scene with Maria in the bedroom, prepares the audience for her ultimate destruction at the hands of the Jets. Her frantic and hysterical screaming created a haunting image that will not soon be forgotten. I know that many people have had their gripes with Olivo as a performer due to missed shows, etc. But she is giving one of the finest performances by a woman currently on Broadway.
The ensemble didn't dance. They reacted. The dancing in West Side Story is unlike any other production. It reminded me of a "Ars Poetica" in that the movements "do not mean but be." Alive in the moment, the ensemble created a lively, passionate, energetic, and ultimately dangerous New York.
The incorporation of Spanish into the production took the passion, heat, and racism to new heights. I enjoyed Olivo's "Un Hombre Asi," on the cast recording and was initially disappointed to learn it had been changed to "A Boy Like That." However, the Spanish lyrics are integrated flawlessly into the pre-existing English lyrics. My girlfriend is Argentinian and I also speak Spanish, so I am entirely bias on the use of language in the production. However, based on the audience members around me, nothing was lost in translation.
Overall, this production of West Side Story reminded me of how brilliant the work of Bernstein, Sondheim, Laurents, and Robbins is. Their collaboration is seemless and is something that should be studied by creative teams for years to come.
Expecting to see a lifeless revival, I was FLOORED by the production last night. Every moment, every beat, every word, every action had purpose. The production was flawless. My girlfriend, who bought me the tickets for Christmas, enjoys theater but isn't as interested in it as I am. However, we spent hours last night talking about the different choices made by the director and the actors which expresses a great deal about the production.
Having been less than impressed with Matt Cavenaugh on the cast recording (I mean, seriously, hasn't this guy gotten tired of playing Joe ?Kennedy yet?), I was excited to see that Matthew Hydzik's performance was fresh, intimate, and ultimately very moving. The choice to has his last words as he dies in Spanish was brilliant in my opinion because it's showing A) that he's giving his life up because of cultural differences, and B) the two cultures are finally becoming integrated. I've never particular enjoyed these ending moments of West Side Story because I found them to be superficial. Whether than comes from the writing itself or its prevelence in pop culture (i.e. Ugly Betty) I'm not sure. However, this moment truly captured the sentimentes of "the glooming peace" from Shakespeare's Romeo and Juliet.
Maria was played by Haley Carlucci, who wonderfully captured the character's innocence. Matt and her ability to thrive in the moment and create a sense of passion, while still relatively new in their roles, was icredibly impressive and reflects the power of live theater. One thing that has always baffled me about this piece was how quicky they fall in love and how much it hurts. I understand the relation to Romeo and Juliet and the powers of love and first set etc etc. However, this production never allowed me to question logistics. I was there, with the characters, in moment and along for the ride. Every moment and emotion was felt so clearly thanks to these brilliant performers.
Karen Olivo has a stage presence that you can cut with a knife. From her first appearance in the shop, the audience can discern that she is a force to watch out for. Each of Anita's moments, from the gym to America to her scene with Maria in the bedroom, prepares the audience for her ultimate destruction at the hands of the Jets. Her frantic and hysterical screaming created a haunting image that will not soon be forgotten. I know that many people have had their gripes with Olivo as a performer due to missed shows, etc. But she is giving one of the finest performances by a woman currently on Broadway.
The ensemble didn't dance. They reacted. The dancing in West Side Story is unlike any other production. It reminded me of a "Ars Poetica" in that the movements "do not mean but be." Alive in the moment, the ensemble created a lively, passionate, energetic, and ultimately dangerous New York.
The incorporation of Spanish into the production took the passion, heat, and racism to new heights. I enjoyed Olivo's "Un Hombre Asi," on the cast recording and was initially disappointed to learn it had been changed to "A Boy Like That." However, the Spanish lyrics are integrated flawlessly into the pre-existing English lyrics. My girlfriend is Argentinian and I also speak Spanish, so I am entirely bias on the use of language in the production. However, based on the audience members around me, nothing was lost in translation.
Overall, this production of West Side Story reminded me of how brilliant the work of Bernstein, Sondheim, Laurents, and Robbins is. Their collaboration is seemless and is something that should be studied by creative teams for years to come.
