Review – West Side Story 2007

“Dancing best part of West Side Story”
“Singers cope well with difficult melodies”

Published: November 25, 2007

By now, we all know West Side Story is the tale of star-crossed lovers Maria and Tony. Yet in a just-opened revival by the Victoria Operatic Society, it is the choreography that emerges as the brightest star.

VOS newcomers Lynn Stevens and Lia Biro have created the dynamic, accomplished choreography that on Friday night emerged as the heart and soul of this production. The pair is, no doubt, influenced by Jerome Robbin’s famous film choreography. That said, this is a very fine job on their part.

The stage is literally set with the opening sequence, a confrontation between the Jets and Sharks. Since its Broadway debut half a century ago, countless troupes have re-enacted the combative dance of New York gangs in West Side Story. In this production, the choreography is notable for scrupulous attention to detail – a little flourish here, a coltish kick there. The crucial opening scene epitomized the volatile mix of adolescent high spirits and thoughtless anger that is absolutely essential to the success of this musical.

The careful attention to movement continued throughout. In this show, synchronized dance sequences contrast beautifully with seemingly free-for-all (but carefully orchestrated) gang clashes.

The choreographic team and director Jaymes D. Goodman understand West Side Story must exude youthful joie de vivre and bluster. Certain dancers (Kara McLachlan playing the hip-swaying tomboy Anybodys pops to mind) seem ready to burst with vitality. Weeks of rigorous rehearsal have buffed the choreographers’ small touches to a high sheen.

It’s a credit to them and a hard-working cast that athletic flips, dips, swings and swaggers all come off with aplomb.

The songs by Leonard Bernstein and Stephen Sondheim are modern classics. Today, everyone recognizes Maria, Tonight, I Feel Pretty and America. These classic tunes are so familiar it’s easy to forget the music from West Side Story is very difficult to sing. The melodies are beautiful yet angular. Singers must possess a wide vocal range to tackle them.

And the ping-ponging rhythms are devilishly tricky – think of the stutter-and-start syncopations of America, for example.

Jessica Natale as Maria and Dwayne Gordon as Tony each do a creditable job. Each has strengths as a singer. Natale’s soprano occasionally sounded thinnish, yet she sang with good projection and on pitch. A few times, Gordon wrestled with upper register notes – as any tenor might in the role of Tony – yet this is an able performer who understands that musical theatre means making the drama big and juicy.

I did find – just once in a while – that Gordon embraced stylistic clichés too fervently. For example, the trick of attacking a note very softly then swelling to a double-forte crescendo is a melodramatic device to be used sparingly. Overused, this (or any) stock device can sap the integrity of a role.

Other cast notables include Jeffrey Stephen, who brings a fine intensity to the role of Riff (on this night his singing should have been miked higher). Tara Britt sings well as the fiery Anita.

Phil Hallman conducts a pit orchestra that had fine moments – especially during the showcased percussion passages – despite the odd muffled note and momentarily losing a singer on one number.

The simplicity of Adam Wilkinson’s clever lighting jibes well with a suitably pared-down set designed by John Britt.