Header Image: Photograph by Will Russell
As I have mentioned a couple of times already, the first time I saw West Side Story was back in early 2003, when a local high school put on a production and invited all the nearby public primary schools to attend. What I didn’t mention was that to the 11-year-old me at the time, it was one of the most boring productions I ever had to sit through, I would argue because of its emphasis on choreography and music rather than catchy beats and a comedic story that my youthful mind preferred. Therefore, I was interested in heading up to QPAC last weekend to see the latest Australian tour of West Side Story, being co-presented by Opera Australia and GWB Entertainment – to see how my (hopefully) more sophisticated mind tackled this long-time staple of the performing arts scene.
The short-lived-due-to-COVID-19 2020 Broadway Revival saw significant changes to West Side Story. This included a reduction down to a single act, with changes in tone, music and choreography. However, this production is still aligned with the original works, in all its two-act glory. In going down this route, viewers are treated to all the perks and limitations of the original.
On the plus side, this production of West Side Story features brilliant choreography, which has been brought to the stage by Joey McKneely and Brendan Yeates – both embracing and adapting the original moves by Jerome Robbins. Perhaps it is because getting to see shows due to the pandemic has been complex, but there was something delightful yet pleasant about how the show embraced varied artistic and dance styles, including ballet, opera and jazz.
The musical score, directed by Isaac Hayward was also delightful, managing to immerse viewers into the scenes seamlessly. Being able to get a sense of the streets of 1950s Manhattan is so important given the limitations of staging, but the score carries its weight. The set, on the other hand, is minimalistic, with the key features being a digital display at the rear of the stage and two half-stage pull-out buildings that could transport viewers to locations such as the bridal shop, the balcony of a decrepit building or be hidden from plain view within seconds. I both loved and disliked the digital display at the back, thinking it worked exceptionally well to draw eyes and focus on the more complex numbers by going minimalistic. But, it looked very “meh” when displaying stock imagery from the era, which felt precisely how it looked – old imagery overlayed on a digital screen.
Although I would argue that some of the casting and costuming didn’t replicate what one might typically think of this 1950s environment to look like, I will say that those actors were, on average, triple-threats. They could definitely sing, the acting was on-point, and the dancing was mesmerising. Some highlights of the cast were Nigel Huckle and Sophie Salvesani as the lead duo and Angelina Thomson as Anita.
While the elements that made up the “Australian Production” were mostly on-point, ultimately by sticking with traditional West Side Story, some features may not appeal to those who are part of the ‘Musical Theatre Fan’ or Older demographics. The star-crossed lovers narrative is nuanced enough, with the rival factions being a slight deviation from the typical ‘family vs family’ trope-definer set by Shakespeares’ Romeo & Juliet. However, the story progresses very slowly and, at its core, doesn’t have too much weight in its content.
The songs, I would argue, while enjoyable enough, could stand to lose a couple of verses here and there as they tended to go much longer than necessary. This should not be considered a reflection of the Australian production itself, but may slightly hinder the enjoyment of some newcomers to West Side Story. I would be interested in seeing the new Broadway version come Down Under to see whether this resolves some of my complaints about the show’s pacing for more contemporary audiences.
While a little hesitant to re-watch a show I did not fall in love with almost two decades ago, I am thrilled that I did. West Side Story’s charm comes from the elements of ballet, opera, jazz, and musical styles weaved throughout the two-and-a-half-hour experience, and the Australian cast did all of them justice. For millennial audiences not so inclined to musical theatre or performing arts in general, the production may show its age a bit too much, and may not be anywhere near as appealing as others on the market, but for those after an iconic story or some top-notch choreography, this season may be up your alley.
How to purchase tickets to West Side Story
Pending the current COVID-19 lockdown period currently on-going in previous and any announcements following it, West Side Story is being performed at the Queensland Performing Arts Centre (QPAC) until Sunday 22 August 2021. Tickets can be purchased from HERE or by calling the QTIX Box Office on 136 246. Given that Charlie and the Chocolate Factory is expected to commence from 2 September 2021, it is unlike the season will be extended should another lockdown take place.
Acknowledgements
Complementary tickets to attend the opening night of West Side Story were provided by the producers for the purpose of this review.
