[NEohioPAL]Berko review: WEST SIDE STORY (Porthouse)

[Roy Berko]

PORTHOUSE’S  ‘WEST SIDE STORY’ OK, BUT LACKS THE
NEEDED EDGINESS

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


In September of 1957 I made my first of what was to
become many visits to New York City to see Broadway
productions.  One of the shows I saw on that trip was
the newly opened ‘WEST SIDE STORY.’  I fell in love
with musical theatre that night when I viewed the
dynamic, edgy and compelling show.   That production
stared Carol Lawrence as Maria, Larry Kert as Tony and
Chita Rivera as Anita.  I have seen many productions
of that musical since then.  A few were superb, some
bad and most, like that now being presented at
Porthouse Theatre, are okay, but not mesmerizing.   

‘WEST SIDE STORY’ transfers Shakespeare's ‘ROMEO AND
JULIET’ to modern-day New York. The love story of
Romeo and Juliet becomes that of Maria and Tony. The
feud between the houses of the Capulets and the
Montagues is re-created in one involving two teen-age
gangs, the Jets and the Sharks. The famous balcony
scene of the Shakespeare drama transpires on a
fire-escape of a New York tenement.  And, as in the
original, the star-crossed love affair ends in doom.

As in all well-conceived musicals the elements in
‘WEST SIDE STORY’ combine to make a seamless work.  
Leonard Bernstein’s music is passionate as well as
memorable.  Jerome Robbins' original choreography
conveyed the tension and violence of city life. Arthur
Laurents' dialogue and Stephen Sondheim's lyrics
skillfully draw the audience into the story. 

‘WEST SIDE STORY’ took Broadway by storm. Four years
later it was made into a film, which won an Academy
Award as the best film of 1961.  Unfortunately, the
movie contained much sham.  Instead of using the
mutli-talented Lawrence and Kert, the powers that be
cast non-singers Natalie Wood as Maria and Richard
Beymer as Tony.  (A little-known fact is that Elvis
Presley was originally considered for the role of
Tony.)   The former child star Jimmy Bryant was
Beymer’s musical voice and Marni Nixon’s singing was
dubbed for Natalie Wood.  Even the great Rita Moreno,
who played Anita, had her voice enhanced by Betty
Wand.

‘WEST SIDE STORY’ is a difficult play for amateurs to
do well.  First, there is Bernstein’s music which is
both difficult to sing and play.  Then, there is the
necessity for superb dancing which is so integral to
the plot.  In addition, there is the requirement for
the cast to understand and duplicate the frustration
of the ghetto, the immigrant desire for territory and
assimilation, and the basis for the cultural clashes. 


Porthouse’s orchestra, under the able musical
direction of Melissa Fucci, was excellent.  The
musical interpretation incorporated the proper
urgency, the impending conflict, the underscoring of
what was happening and what was to come.  

The singing, on the other hand, was not always well
accomplished.  Kayce Cummings (Maria) has a wonderful
voice.  She interprets song lyrics well.  Stephen
Brockway (Tony) has a pleasant voice, but not the full
sound needed for such powerful songs as “Maria” and
“Something’s Coming.”  In fact, in their duets
Cumming’s voice so overshadowed Brockway’s that when
the two were singing together in “One Hand, One Heart”
it was more Maria’s solo than a duet.  Sandra Emerick
(Anita) has a wonderful voice.  Too bad her dancing
abilities didn’t parallel her vocals and fiery acting.

Choreographer John Crawford wisely did not attempt to
duplicate Jerome Robbins extremely difficult
movements.   What he did use was often, with few
exceptions,  beyond the abilities of the dancers. 
This was especially true with the males.   David
Gregory and  Andrew Mills held their own, but you
could almost see some of the others counting their
movement beats.  Well conceived and performed was  the
sprightly “America.”  On the other hand, due to poor
physical movements and some questionable line
interpretations, the usually hysterical “Gee, Officer
Krupke” was pleasant, at best.

The major place the show stumbled was in attitude. 
The edge simply wasn’t there.  These were, for the
most part, clean scrubbed suburban teenagers
pretending to be tough.  The tension and violence of
city ghetto life was just too far removed from their
experiences for them to feel it, to create reality.  
The show has to be dynamic, compelling, engrossing,
real.  The Porthouse production was pleasant,
well-intentioned and nice.  That’s okay for lots of
musicals, but not for “WEST SIDE STORY.”

Nolan Dell’s scenic design was excellent.  T. C.
Kouyeas Jr.’s lighting was generally good, but the
climax of the rumble at the end of Act 1 was
diminished by the lack of incessant flashing police
lights and the lazy movement of the spotlights.  The
lack of compelling vividness failed to give the needed
emotional spark.

CAPSULE JUDGEMENT:  Porthouse’s ‘WEST SIDE STORY’ is a
perfectly acceptable summer theatre production. 
Unfortunately, it lacked the edge, the needed
compelling quality to make it a special experience.

The show runs Tuesdays through Saturday evenings and
Sunday matinees through August 14  at the Porthouse
Theatre, located on the grounds of the Blossom Music
Center in Cuyahoga Falls.  The 500-seat, outdoor,
covered pavilion theatre is a wonderful setting. 
There isn’t a bad seat in the house.  For tickets,
which range in price from $18 to $24, with special
prices for students and seniors,  call 1-800-304-2363
or 330 929-4416 or visit www.porthousetheatre.com.


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.


		
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