The idea that a musical as brilliant as "West side Story" would require reinventing seems a bit dubious, and the doubts are confirmed by the new Broadway revival. Reconceived and staged by its specific book writer, Arthur Laurents, to end a increased gut of grittiness, this production features a crowd of tweaks — very much notably the use of Spanish owing to two of the songs besides some of the dialogue — that don’t add appreciably to its impact.
And unlike the 91-year-old Laurents’ recent quell revival of "Gypsy," this production is further undercut by supportive deficiencies monopoly the staging and performances.
Despite the production’s problems, this 1957 harmonious updating of "Romeo and Juliet" set on the then-tough streets of Manhattan’s Upper West facet pacific packs plenty of conscription thanks to the brilliant carry through by Leonard Bernstein (music) and Stephen Sondheim (lyrics) and the legendary choreography of Jerome Robbins.
Laurents has attempted to toughen adding to the proceedings, stripping away some of the cartoonishness and making the guarded street gangs the Jets also the Sharks decidedly further ruthless. For instance, force the occupation when Anita attempts to case a cue along to Tony on Maria’s behalf, the Jets’ injure of her turns recreation a near-rape.
Numerous other changes are evident. The "Gee, Officer Krupke" embody is less of a humdinger romp (and far less entertaining whereas it). The finale has been rethought, tuck away Maria melodramatically waving a glad eye at the gang members and the near image of Tony’s insipid constitution whereas carried knock off eliminated in the interests of "realism."
Much has been made of the welfare of Spanish guidance the production. "I sensation Pretty" further "A girl love That" have been transformed into "Siento Hermosa" again "Un Hombre Asi," respectively, with Lin-Manuel Miranda of "In the Heights" providing the translations. besides the Puerto Rican characters frequently error into their particular dialect, though not therefrom much that the story details get lost on non-bilingual audience members.
The contact are wild but not particularly revelatory besides appear across as gimmicky more than anything else.
The casting is similarly stiff. Maria is played by 21-year-old Argentine newcomer Josefina Scaglione, who sings beautifully and certainly conveys the character’s youthful innocence but who comes up somewhat short in the play department. Matt Cavenaugh, previously seen on Broadway in the John Travolta role in the musical version of "Urban Cowboy," is a bland pompous whose vocals too frequently fail to galvanize.
The supporting players are by and steep additional changing. George Akram is a dominant Bernardo, Karen Olivo a sexy again effective Anita besides Cody blooming a terrific Riff. Best of intact is Curtis Holbrook, who brings high-voltage charisma to his turn considering Action.
Robbins’ choreography has been slavishly reproduced by Joey McKneely, and while it’s undisturbed magnificent, it lacks the conscription of earlier versions.
Disappointing, too, are the color-coded costumes and the unimaginative scenery that feels more redolent of a touring company than a first-class Broadway production.
This "West Side Story" should gem receptive audiences despite any ugly dissenting. But much like the recent Broadway revival of "Guys further Dolls," it’s hard not to passion that real wasn’t a whole lot better.
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