*WEST SIDE STORY
Book by Arthur Laurents, Lyrics by Stephen Sondheim
Music by Leonard Bernstein
Lyric Stage
*REVIEWED 09/06/08 PERFORMANCE
Directed by Grover Dale
Musical Direction by Jay Dias
Original Robbins choreography recreated by Kate Swan
Lighting Design by Julie Moroney
Costume Design by Drenda Lewis
Environmental Concept by Grover Dale
Sound Design by Bill Eickenloff
_____________WEST SIDE STORY________________
Currently this nation is slowly edging towards electing a new Presi-
dent of the United States. Whichever political party you are rooting
for, either ticket will be making history. We will either have our
first ever African American President or our first ever female Vice
President.
The candidates are pushing a laundry list of new policies and changes
if elected constantly in the media. One issue that is one hell of a
hot political button is immigration. It is an issue that just rips
apart the very cloth that our forefathers created to make this a free
country.
As I sat watching Lyric Stage's current offering, WEST SIDE STORY, I
was reminded that after all these years not much has changed within
our country in regards to race. Here is a musical that opened in 1957
which deals with racism and hatred. And now over 50 years later, we're
still at each other's throats on who can live here or not, or has the
right to live here.
WSS opened in September 1957 at the Winter Garden Theater starring
Larry Kert and Carol Lawrence as the doomed "Romeo & Juliet" set
against the tough streets of New York.
Another principal in the original company was a Latina goddess whose
birth name was Dolores Conchita Figueroa del Rivero, who changed her
name to Chita Rivera. And we all know what became of that legend.
When I conducted my first ever interview with Chita Rivera back in
2001, I asked her during a break what it was like to work with
Jerome Robbins. She said he was indeed a taskmaster and was so diffi-
cult on her, but the end result was there on stage. She said she was
forever grateful to him for making her who she is today. She later
retold this story (and more WSS antidotes) in her magnificent auto-
biographical musical A DANCER'S LIFE, which I saw and loved on Broad
-way in December 2005.
At the 1958 Tony Awards, this Jerome Robbins helmed dramatic piece
was met with 7 nominations including Best Musical. The other nominated
musicals were THE MUSIC MAN, Bob Merrell's NEW GIRL IN TOWN, JAMAICA,
and OH, CAPTIAN! In the acting categories, only Ms.Lawrence received
a nod (losing though to Barbara Cook, who originated the role of
"Marian" in TMM). WSS walked home with three wins, including Best
Choreography for Robbins. He had some major competition winning that
medallion trophy what with Bob Fosse (NEW GIRL IN TOWN) and Ona White
(TMM) as his fellow nominees.
The musical would play for 732 performances, but not before trans-
ferring to the Broadway theater, and then back to the Winter Garden,
where it would close in June 1959.
In April 1960 WSS had a return engagement, starting back at the Winter
Garden, then transferring to the Alvin Theater, closing in December
1960 after 249 performances.
1964 brought the NYC Center Light Opera Company revival where it
played for 31 performances in a limited engagement. Finally in
February 1984 at the Minskoff Theater came the first real Broadway
revival of WSS. This time around Houston native Debbie Allen portrayed
"Anita", earning a Tony nod. For this production, it would receive 3
nominations, but went home empty handed.
Let's not forget the 1962 film version starring a dubbed Natalie Wood.
The film was co-directed by Robbins and Robert Wise, resulting in ten
Academy Awards, including Best Picture. While I have enjoyed the film,
I still much would have preferred Ms. Rivera recreating the role of
"Anita" than Rita Moreno, but that's just me.
WSS is set to have its third major Broadway revival come February
2009. This time around the production will be directed by its original
book writer, Arthur Laurents. He has said in the press that this
version will convey authenticity. That this version of the landmark
musical will have Spanish interwoven in the dialogue and songs and
gang members who are more thug life than thug lite.
YOU READ IT HERE FIRST in "THE COLUMN": Now, this is not official or
confirmed, but several of my New York sources have let me in on some
delicious backstage tidbits regarding the Laurents revival. It has
been "whispered" to me that the casting is possibly going inter-
national (like Argentina) with some of the leading Latin roles.
Another tidbit is that all of the Sharks and Latin characters lines,
lyrics, and songs will be sung totally in Spanish, with subtitles
flashed on a screen somewhere on stage. Again, this is not confirmed,
but it's what my NY sources have told me. If it does happen, remember-
you read in here in THE COLUMN first.
For the Lyric stage version, Producer Steven Jones has brought on
board to helm his production Grover Dale, who originated the role of
"Snow boy" in the landmark Robbins version. Dale has a lengthy Broad-
way resume, with such work as a performer in the original casts of
LIL ABNER and GREENWILLOW (starring pre-PSYCHO star Anthony Perkins).
As a choreographer/Director on Broadway some of Dale's past work
includes THE MAGIC SHOW (starring magician Doug Henning) and MAIL
(Starring Michael Rupert). Dale would serve as a co-director in 1989
on the Tony Award winning JEROME ROBBINS BROADWAY, assisting Mr.
Robbins on what else? The WEST SIDE STORY section. Mr. Dale even
danced in the Rodney Dangerfield film MEET WALLY SPARKS and served as
choreographer for the television version of Barry Manilow's COPA-
CABANA.
As you watch Dale's WSS vision on the Carpenter Hall stage, you are
keenly aware that he indeed paid very close attention while performing
the Robbins original version. But he has also added his own elements,
both infusing into a refined and richly emotional piece of classic
musical theater.
With only pieces of scaffolding and metal stairs as his set, Dale has
stripped down the production to the bare bones. You only set bits and
pieces of furniture brought in to tell us it's a bedroom or Doc's soda
shop. But it's the use of decaying, graffiti splattered doors that I
found fascinating. To divide scenes or to hide the horrors of
violence, Dale has his company softly rush on stage with doors to
create these scenes. The finale in Act one actually put a chill down
my spine as you watch the dancers whisk on stage with doors to cover
two dead bodies while police search lights glare down.
That is another quality that I greatly admired in Dale's production.
He has his cast consistently moving the scaffolding, furniture, doors,
etc. with fast precision and focus, never once distracting from the
emotion on stage. Dale's direction is truly gratifying. I'm sure Mr.
Robbins is beaming from high above the Carpenter Hall stage.
Lyric's producer Steven Jones is the true leader when it comes to
producing both new musicals, and bringing back classics with finesse
and polish. But the man is after my own heart when he adds a 34 piece
orchestra to bring those scores to lush, grand life. For WSS Jones
has hired a 34 piece orchestra that will leave you breathless. To
hear that glorious Bernstein score with live strings and hearty
horns, ohmigod! It's like nothing you've heard before on any local
stage whatsoever.
Today's economy is kicking the arts right in the pocket book, so who
knows when you'll hear something like this live ever again. It's a
feast for the ears to say the least. Major loud kudos must also be
bestowed to Conductor & Musical Director Jay Dias. He masterfully kept
the grand orchestra in perfect tempo with the cast. Even when during
"Gee, Officer Krupke" one performer rushed ahead of the orchestra,
Mr. Dias with soft professionalism eased the 34 members to meet the
actor on the next verse in perfect unison. That's a pro people! Bravo
Mr. Dias, Bravo!
The entire cast does a solid job within the production, with a
sprinkling of exciting debuts as well. I give them major props and a
standing ovation for doing the original Robbins athletic choreography.
That is no easy feat whatsoever. To say the least he company's energy
electrified the opening night audience. However though, there were
sections of dance where the choreography was not as polished as it
should be. Within the opening number there were several male dancers
who were not in unison with the others. Also during the gym dance and
the "Cool" number you did notice that some dancers got behind the
others. Nonetheless, they were a great bunch of talented performers
who did a remarkable job with the vigorous-yet dazzling choreography.
Micah Shepard portrays "Tony", the soda shop employee who falls in
love with a Latina. Shepard has all-American, corn-fed looks that
actually gave the role a fresh and dynamic aura. Where he really
shines brightly is his lyric interpretation and vocal technique with
-in the score. Instead of belting throughout the entire score, he
gives the music a much more intimate, personal approach that works
superbly here.
An example of this is his first solo, "Something's Coming". He plays
marvelously within the Sondheim's lyrics to give the song this
innocent quality. This greatly aided his character arc when the dark-
ness of the piece seeps in. His honest, organic, realistic approach to
such songs as "Maria", "One Hand, One Heart" and "Tonight" are also
solid successes for this very talented actor. I was greatly impressed
by the fresh, internal approach to the character that Mr. Shepard
provided here.
It is no secret that Kimberly Whalen possesses one of the most
exquisite singing voices to grace any metroplex stage. It is pure,
clean, and impressive. Here she portrays "Maria", and every song was
like a glistening diamond that sparkled with glowing brilliance. But
there were problems within her performance, particularly in her
acting and looks.
Ms. Whalen in reality is an eye catching blonde, but alas even with
the black wig and tan make up; she just did not look Latin whatsoever.
To make her characterization more problematic was her choppy, uneven
attempt at a Spanish dialect. It was painfully clear she struggled
throughout the evening with it. It didn't help her cause when the real
Latinos surrounding her on stage spoke with clean, honest Spanish
dialects, and hers came out so fake, slowly become a distraction
within her performance. Finally, when she sang, the accent would come
and ago throughout her assigned songs.
I just felt Ms. Whalen was not connecting with the subtext and
especially the dark, gut wrenching pathos of her character arc within
the second act. For example the tragic scene involving the realiza-
tion her lover killed her brother. It is a scene of deep anguish &
horrific discovery. Thus when Whalen rushes to Tony and screams,
"Killer! Killer", it did not have a ring of organic truth or
realism. She seemed to consistently battle within her characterization
on finding the moment and truth. But again, I must commend her
singing, for it is beautiful.
The star making, breakout performance within the large company belongs
to Christie Peruso as "Anita". This girl is going to be a star, mark
my words. A tall, sexy, gorgeous Latin beauty with legs for days. She
actually resembles a young Chita Rivera! From there add a magnetic
stage presence that can be seen from the far reaches of outer space.
Every time she stepped onto that stage you literally saw the audience
shift their focus and full attention on this raven haired, glamorous
beauty.
Ms. Peruso is what you call a true, genuine triple talent. She has a
terrific set of soprano vocal pipes that fill the Carpenter hall with
crystal clean finesse. Her rendition of "America" becomes one of the
evening's truly outstanding show stopping numbers. Even when her foot
got caught within her black petticoats and tore into the material. She
simply wrapped the torn ruffle around her wrist and used it like a
prop-that's a star in my book! And can the girl dance! Those gorgeous
gams looked amazing working through all that Robbins choreography.
Her technique and energy in her dancing could set off a five alarm
fire in four seconds flat.
Finally there was her acting and very impressive characterization to
the role of "Anita". The first act she gave "Anita" full sexual heat
& playfulness. But then watch the superb transformation of losing her
boyfriend, then becoming a victim of racism and attempted rape. The
way she viciously and painfully attacks the lyrics in `A boy Like
That" is gut wrenching truthful from beginning to end. Peruso's
acting technique in that second act is powerful beyond words. Watch
how her body convulses and falls apart on the floor. But then rises
with dignity and control. I was completely mesmerized by her
magnificent performance here. If Chita Rivera saw Peruso's perform-
ance here, the Broadway legend would be very, very proud of her role
being done so superbly here by Ms. Peruso.
Matching Ms. Peruso's talent is Antonio Jimenez's brooding, suave,
and masculine portrayal of "Bernardo", leader of the Sharks. Instead
of keeping him angry throughout the piece (as I have seen in past
"Bernardos" ) Jimenez gives the role a more loving heart and compass
-ion towards Maria, while completely in sensual lust with his Anita.
Mr. Jimenez's handsome looks and command of the stage add up to one
terrific, yet intense performance.
Jeremy Dumont I must admit is not someone you automatically think is
how "Action" the Jet would physically resemble, but then I see what
director Dale was going after. Usually the role is cast by a ruff-n-
tuff thug. But with Dumont's sweet young teen looks, it helps bring a
more disturbing layer of subtext that works wonderfully within his
characterization. "Action" has all this pent up anger and hatred with
-in him, always on the verge of exploding and losing it all. Thus to
see this under layer of racism and anger pour out from such a sweet
kid, it just brings organic reality to Dumont's performance. Think
about it. Every time we watch the news and see teen commit violence,
neighbors tend to say, "Oh but he was so sweet and innocent." Dumont
also shines brightly and carries with comedic razzle-dazzle the
jovial number "Gee, Officer Krupke". And watch this kid dance; it's
like watching a teen age Jerome Robbins come alive!
Speaking of dancing, the corps of dancers within this company are all
superb. How I wish I could dance like this first class troupe does.
They all do such a remarkable job at recreating the original Robbins
choreography that attention must be paid to them. The Jets are
comprised of Harry Feril, Brett Quine, Jason Mayfield, Stephen
Langton, Tyler Donahue. Hannah West, Ryan Vancompernolle, Meghan
Fluker, and Kellie Carroll are their girlfriends.
The powerful and exciting Sharks include Peter Romaniello, Alexander
Arroyo, Sergio Garcia, and David Staggers. The sexy Shark girls
consisted of Melody Denoia, Kristen Smith, Koreyci Barreto, and
Angela Moore.
It was an interesting casting choice though that Dale created in
regards to the Sharks and Jets. For the Latin gang, the majority of
the boys are quite muscular, handsome, rugged, & extremely masculine.
But for the Jets some are quite short, or very thin, and look quite
young, like a group of boy band twinks. This actually created some
interesting subtext if you ask me.
Also providing exceptional, thoroughly entertaining performances with
-in this radiant cast include Philip Groft as "Riff" (Although the
Link Larkin pompadour was a little distracting); Mario Martinez
(Chino); Amanda Passanante (Rosalia); Francis Fuselier (Doc); Lili
Froehlich (Anybodys); and Gordon Fox (Glad Hand).
Already this season we have seen some truly outstanding musicals all
throughout the Dallas-Fort Worth metroplex. Well, you can easily add
Lyric Stage's WEST SIDE STORY to that growing list. We are indeed so
lucky to have Lyric Stage housed here. I mean to produce a big musical
like this with this kind of talent, then add a glorious 34 piece
symphony orchestra, and then have the production helmed by one of the
original Broadway cast members……I mean what more can you ask for?
Lyric Stage's WEST SIDE STORY is a musical theater fan's banquet,
except Lyric serves it all up on glistening, glittery golden plates!
GRADE: A
_______________________________________________________________
WEST SIDE STORY
Book by Arthur Laurents, Lyrics by Stephen Sondheim
Music by Leonard Bernstein
Through September 14, 2008
Lyric Stage
Performances are Thursday-Saturday evenings @ 8:00 PM with matinees
on Sundays @ 2:30 PM. Performances are in the Irving Arts Center's
Carpenter Performance Hall, 3333 N. MacArthur Blvd. Irving, TX.
Tixs priced from $20-$50, are available online @ www.lyricstage.org or
by calling the box office @ 972-252-2787. Performances are in the
Irving Arts Center's Carpenter Performance Hall.
