This ‘West Side Story’ throbs with fresh energy and great poignancy
DYNAMIC choreography, beguilingly familiar melodies from Bernstein with Sondheim lyrics, shrewd direction both dramatic and musical, and impressive staging… all the elements that brought acclaim to the Fugard production of this evergreen show a couple of years ago at Artscape are still firmly in place. But with a different lead as Kevin Hack replaces Jonathan Roxmouth’s Tony in West Side
Story, there is a new feel to this latest incarnation of the musical.
Apart from a notable increase in the energy of the cast, from leads to cameo roles, Matthew Wild’s production brings out more strongly than ever the essential power of the work: its thought-provoking juxtaposition of brutality and tenderness, and the contrast between the loving relationship of Tony and Maria versus the coarse-grained lust of other couples. The aspirations of the central lovers to a life of “peace, quiet and open air” are voiced against a backdrop of urban ugliness, gang warfare and disrespect for everyone and everything, especially women and lawenforcement.
Hack and Lynelle Kenned excel as Tony and Maria: his strong stage presence and freshness combined with her experienced portrayal (she is no stranger to this role) would in themselves suffice to carry the production. Both are blessed with robust projection and the vocal agility requisite for rendition of such gems as Maria and I Feel Pretty. When they join forces for the duet Tonight, hands clasped at a dizzying height with a myriad lights reflecting their joyous union, one feels that romance could have no more compelling expression.
Here in particular and throughout, Tim Mitchell’s lighting design complements the action irreproachably. Dance-wise, this West Side
Story delivers with the same verve and well-honed ensemble as the earlier production. Louisa Talbot’s treatment of Jerome Robbins’ choreography captures the Hispanic fire of the girls in America and the testosterone pumping acrobatics of male dancers around a police car. Charl-Johan Lingenfelder’s baton elicits smooth accompaniment from orchestra and band alike, the tempi tailored to dance and the volume respecting vocal delivery.
Daniel Mpilo Richards is charming and alarming as Maria’s turbulent brother Bernado, Stephen Jubber his confident self as Tony’s friend Riff, and Bianca Le Grange near-flawless as Anita, vulnerable under her brash, glamorous exterior. James Borthwick, reliably sound in mature roles, is a sympathetic Doc and a foil to the youngsters.
As the gangs unite over Tony’s corpse (spoiler alert!?), there’s that sense of tragedy-tosome-purpose that makes Romeo
and Juliet so satisfying despite the pathos of young love blighted before it has flowered – another reason for the enduring appeal of West Side Story.