Kyle is an actor-screenwriter who is spending time busking with his guitar throughout the duration of the pandemic. His favorite show is Fiddler On The Roof and he has experience in musical theater and drama in New York City. I'm thrilled to introduce his review about the musical revival, "West Side Story." Enjoy! :)
When I found out I was going to be seeing the 2020 “West Side Story” revival in previews, I didn't know what to expect. Anxiously standing in line to enter the Broadway Theatre, I was met with a large swarm of protesters grouped by the entrance. Not a great start.
They were booing the show, but primarily one of its principal performers, Amar Ramasar, who played Bernardo. He was under fire for having shared nude photos of a female dancer during his time at the New York City Ballet, a year and a half prior to his employment in “West Side Story.” Though this is an important topic, I will not be covering it in depth in this piece. Here is an article from The New York Times to read more.
Ironically, Mr. Ramasar was one of the only performers who stood out. His dancing skills were exquisite, and the intensity with which he played Bernardo was extraordinary. He had great chemistry with Anita (Yesenia Ayalia), and portrayed the powerful leader of the Sharks perfectly.
As for the iconic star-crossed lovers of the show, Sheereen Pimentel as Maria was fantastic. Her gorgeous soprano voice and the way she breathed life into Maria and reimagined her as more of a headstrong character was brilliant. Playing opposite her was Isaac Powell as Tony, who brought just the right amount of boyish charm to the character, while also meeting the level of dramatic vigor required of his role.
However, Mr. Powell could have used more work vocally. Though he hit all the notes, and ultimately sang wonderfully, songs were not sung at their fullest caliber due to his lack of classical technique. He sometimes struggled with sustaining long notes as well as establishing the appropriate tone.
As for the rest of the cast, they appeared to me as dancers - and only that. The acting and singing of the ensemble was lackluster and often brought down crucial moments of the show.
The choreography, though, was nothing like I had ever seen before on Broadway. Instead of simply the traditional ballet in “West Side Story,” avant-garde choreographer Anne Teresa De Keersmaeker brought new hip hop and street dance elements to the show. This worked well, especially in the modernized setting.
The contemporary adaptation of “West Side Story” may have gone too far with utilizing a humongous screen - that occasionally slid open to reveal rooms - as its minimalistic set. The actors were dwarfed by it, and the videos that would play were often unnecessary and distracting.
In one scene, there weren’t any actors on stage, just a live video from a hidden room backstage. Watching Ivo van Hove’s “West Side Story” was less like watching a Broadway performance, but more like engaging in an immersive cinematic experience.
Overall, though, the modernization wasn’t bad and the show hit as powerfully as ever. Traditionalists would dislike it, while younger generations could be introduced to this version “West Side Story” and love it far more than the original.
However, had Mr. Ramasar’s employment been rightfully terminated, Ivo van Hove’s “West Side Story” would have simply been mediocre.
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