Jump to content


- - - - -

West Side Story At Sadler's Wells 2013


  • Please log in to reply
49 replies to this topic

#41 mrkringas

mrkringas

    Advanced Member

  • Full Members
  • PipPipPip
  • 188 posts

Posted 05 September 2013 - 03:01 PM

Slips were perfectly fine and good value for this production.

I enjoyed it and there is a certain thrill to experiencing the original staging executed so strongly by this mainly North American cast but...

Tony & Maria. I didn't catch which Maria was on but Anthony Festa was on as Tony. Lovely legit sound and quite thrilling on the B flat in Maria but and its a big but.. I felt that he was completely disconnected from his character when he started to sing.

The Balcony Scene was particularly glaring. The pair of them kept on hitting poses that are clearly part of the direction given to them but with zero conviction and honesty. It was infuriating. Especially compared to the rather excellent Riff, Anita and Bernardo who also have a heap of stylised moments in their scenes/songs but they owned that entirely.

Also why after 50 years have they not fixed the gun scene at the end?

Audiences react as they do because they are not prepared for the gun shot. It drives me crazy. Happens in numerous shows but not all plays/musicals with a gunshot.

#42 cat123

cat123

    Advanced Member

  • Full Members
  • PipPipPip
  • 3357 posts

Posted 05 September 2013 - 03:23 PM

What do you mean by the gunshot scene? I thought it worked well...

#43 mrkringas

mrkringas

    Advanced Member

  • Full Members
  • PipPipPip
  • 188 posts

Posted 05 September 2013 - 10:38 PM

If a third of the audience erupts in nervous laughter then something has gone wrong...

#44 Michael H

Michael H

    Advanced Member

  • Full Members
  • PipPipPip
  • 877 posts
  • Gender:Male
  • Location:Croydon

Posted 05 September 2013 - 10:55 PM

I think you just need to block it so that Chino is more visible sooner, and the gunshot doesn't completely come out of the blue.  So the audience gets more of a feeling of impending tragedy, rather than a sudden release of tension, which could elicit nervous laughter.
Me is directing again - Private Peaceful at the Charles Cryer Theatre, Carshalton, 23 to 26 April 2014.

#45 Michael H

Michael H

    Advanced Member

  • Full Members
  • PipPipPip
  • 877 posts
  • Gender:Male
  • Location:Croydon

Posted 05 September 2013 - 10:58 PM

View Posthotshot, on 18 August 2013 - 09:59 PM, said:



The order of the songs were a bit different as well (Act 1 was long - 1 1/2 hours!!)

Cool and Krupke are swapped position in the film.  I think the order in the film works for the film, and the order in the stage version works on stage.
Me is directing again - Private Peaceful at the Charles Cryer Theatre, Carshalton, 23 to 26 April 2014.

#46 mrkringas

mrkringas

    Advanced Member

  • Full Members
  • PipPipPip
  • 188 posts

Posted 05 September 2013 - 10:58 PM

Exactly. It just happens to fast for the audience to cope.

Perhaps an audience back in the day would have pieced together the two sightings of Chino and the gun earlier in the act and figured it was coming. Nowadays that is probably expecting too much.

They always had the same issue with Blood Brothers.

I swear Miss Saigon managed it fine. Happens often enough in plays and other productions that are not coming to mind.

#47 Front Row Dress

Front Row Dress

    Advanced Member

  • Full Members
  • PipPipPip
  • 308 posts
  • Gender:Male

Posted 08 September 2013 - 12:12 PM

Well not one giggle last night, just some sharp intakes of breath. I found it a beautiful production. but I haven't seen it for over 20 years. A bit hungover, I managed a few words on the blog, but no great insights from my addled brain. http://www.frontrowd...ls-theatre.html
www.frontrowdress.com

#48 Kathryn2

Kathryn2

    Advanced Member

  • Full Members
  • PipPipPip
  • 1249 posts

Posted 11 September 2013 - 05:49 PM

Saw this today with my mum. She enjoyed it more than I did - she was crying at the end, while I was unmoved.

I thought it well-sung and well-danced, but just couldn't connect with it emotionally. I don't know whether that 's down to over-familiarity with the songs, or feeling rather distant from the actors half way up the circle, or the rather museum-piece quality that having to use the original choreography gives it.

The Jets and the Sharks are very talented dancers, but I just don't buy them as hoodlums - this is where some updated choreography would work wonders, urban streetdance rather than ballet for the gangs when they're facing off could contrast nicely with a balletic There's a Place For Us.

It's a shame we'll never get to see a reinterpreted production.

#49 Orchestrator

Orchestrator

    Advanced Member

  • Full Members
  • PipPipPip
  • 1028 posts

Posted 12 September 2013 - 02:09 PM

Well, I guess it will be out of copyright in the UK 70 years after Stephen Sondheim dies. Sorry to be so morbid.
Ooh, that Bernadette Shaw - what a chatterbox!

#50 wickedgrin

wickedgrin

    Advanced Member

  • Full Members
  • PipPipPip
  • 1223 posts

Posted 12 September 2013 - 07:51 PM

I understood that Stephen Sondheim wasn't the problem but the estate of Jerome Robbins the director and choreographer of the original 1957 production who insist that revivals have to have his choreography. The professional rights to perform the show make this mandatory.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users