RESURRECTION FOR JEROME ROBBINS?
A number of years ago this reviewer took in the much talked about national tour of WEST SIDE STORY at the Pantages Theatre in Hollywood. That production’s raison d’ etre was its insertion of Spanish elements in a revised Arthur Laurents libretto. Well, of course, the changes actually were just frou-frou; everyone knows that WSS endures because of Jerome Robbins’ choreography for those spectacular dances. So, in that instance, the dancers replicated the master’s vision with panache, yet why wasn’t I bowled over? (Just to be clear, my seat was not located in nosebleed heaven!) On reflection therefore, I resolved to avoid the show for awhile because it did not possess the dynamism of a legendary classic anymore in my estimation.
Lucky for this guy, I decided to give it another shot. WEST SIDE STORY lives again on the intimate, in-the-round stage at the storied GLENDALE CENTRE THEATRE in Greater Los Angeles (LA). This review will concentrate on a stellar production rather than the famous Damon’s Steakhouse or the equally amazing Porto’s Bakery next door to the theatre.
Co-directors Danny Michaels and Orlando Alexander fashion a talent-rich, crowd pleaser of a show featuring some of the finest dancers in the region. Casting is the name of the game and these veterans deliver the goods. Then, Mr. Alexander adapts that Jerome Robbins’ choreography to the limitations of the tiny stage and allows the dances to breathe with danger, exuberance and beauty. Mission accomplished, gentlemen.
The central conflict of the drama, a 1950’s construct of gang warfare on the streets of the Upper West Side in NYC, loosely mimics Shakespeare’s Romeo & Juliet. Currently in the news at the time of its creation, the emergence of teen gang violence provided countless headlines which, sadly, still resonate today (60 years later).
The recipe of this masterpiece provides a fascinating read of musical theatre history. Take the headstrong, balletic genius of Jerome Robbins, mix in the high-minded, orchestral musicianship of Leonard Bernstein, add a dollop of the upstart Stephen Sondheim’s lyrical aptitude and stir to finish with the opinionated craftiness of Arthur Laurents, bringing together the disparate elements while fending off the competing egos and crafty machinations of the control-freak Mr. Robbins. Undoubtedly, it was – and still is in 2018 – a very wild ride indeed. Who knows what would have resulted if the kernel idea of basing the story in Los Angeles using Mexican gangs could have worked. Similarly, it remains hard to believe that the team seriously considered battles between Irish and Jewish gangs in an East Side Story version in New York as well. The “Jets” (the whites) and the “Sharks” (the Puerto Ricans) ultimately claim their turf in their collaboration and the resulting dramatic framework serves the musical play well.
The principals in this production fill the bill quite nicely. Chanlon Kaufman (“Tony”) impresses with his extraordinary vocals, reaching even to the stratosphere, along with his passionate commitment to following his heart. Ani Marderosian (“Maria”) brings a fine singing voice and a sweet delicacy to this immigrant’s plight. John Paul Batista (“Bernardo”) struts his stuff with smoldering resolve and a giant chip on his shoulder. Finally, Linda Neel (“Anita”) plants a capital “P” for pizzazz on these proceedings, demonstrating a depth of feistiness important to her character. Both Mr. Batista and Ms. Neel prove to be deliriously impactful dancers as well.
And watch out for this ferocious ensemble of singer/dancers! The ladies deliver a palpable excitement with precision and flourish (N.B. “The Dance at the Gym”). Likewise, the guys inhabit the space with an extraordinary zest (unusual to say the least). Each nook and cranny of this theatrical playspace benefits from the intensity on display from these dancers. “Cool”!
Shout out to a few rumblers, in particular, who catch my eye whenever in focus. Frankly, William Clayton (“Snowboy”) and Danny O’Connell (“A-Rab”) often dazzle. Other moments elevate via the distinctive contributions of dancers like Sergio Salinas (“Chino”), Antoine Lee (“Anxious”) and Ethan Daniel Corbett (“Riff”). Yes, these cast members, who are integral pieces of the oft overlooked “ensemble”, represent their peers’ excellence winningly.
One notable qualification. A common refrain in this critic’s commentary, freely acknowledged, but it’s important to express disappointment that the producer did not choose to include live musicians in this Glendale creative enterprise. The absence of this element contributes, unfortunately, to a devaluation of the musical theatre genre.
In the technical arena, Lighting Designer Jeremy Williams deserves his own spotlight. Take a bow for your dizzying achievement, sir. After all, it isn’t often that an audience member leaves the theatre “humming” the ellipsoidals, fresnels, gels and gobos!
Seeing WEST SIDE STORY again in this production at GCT feels as if this enthusiast is seeing it for the first time. Here’s hoping that the upcoming new movie version from Steven Spielberg manages to accomplish the same result.
(N.B. Also visit 85 C°Bakery Cafe while in Glendale, Greater Los Angeles (LA).)
Theatre Curtain Calling…Reviewing the Situation
pc: Ashley Ann Caven (“Rock With You Photography”)
