Previous Productions - West Side Story

PRESENTATION/ SETTING – DESIGN AND DÉCOR:
The Set was strikingly urban and minimal, with the important levels created by scaffolding and platforms with simple ladders for access. The floor was bare and set for the physical performance about to unfold. An additional balcony was effortlessly wheeled into place for the ‘Balcony’ scene, and this enclosed the upper level with a hand rail. The star curtain back cloth enhanced the action.
The customised coffee table and authentic bar stools were enough to make Doc’s Place look and feel right, and the wooden crate and 1950’s Coca-Cola bottles added to this effect.
Maria’s bed was possibly too rickety-looking and didn’t look as if it would last the run of the show! The hand mirrors used in, ‘I Feel Pretty’ were lovely.

LIGHTING: The lighting was employed inventively throughout to create some dramatic effects. Blue, magenta and red was used to enhance the action on the scaffolding and six footlights picked up the dry ice and when the Jets sang their title song and punched rhythmic finger clicking into the air from crouched positions this was most effective. Red bulbs were placed and sometimes lit underneath the two balcony platforms and pools of light were at times focused to hit the floor beneath the balconies. Side lighting was also used to create shadows and tension. Metallic, 1950’s gymnasium-style lamps were suspended for the dance which was a pleasing touch. The disco ball was used to great effect too. There was a spot on Tony on the ladder for the ‘Balcony Scene’, and cues were a little mixed up here, but this was the opening night. Red side-lighting cast forewarning pools of light onto two ladders as Tony and Maria first kissed; this was good. The song, ‘Make of Our Hearts’ in the Bridal shop was beautifully lit and gobos were used to create a church stained glass window whilst striped lighting was filtered from three spots in the rig suggesting the appearance of confetti on the floor. The Montage used alternate cues to light different sections of the stage. The arrival of the police was well suggested by using blue flashing lights on the scaffolding towers. The stage was bathed in red during the Ballet Sequence to suggest bloodshed which was effective. The final moments of the play were intensified by a large spotlight at the back of the stage, which shone a blinding light out into the audience and intensified Maria and the procession, with a snap to blackout. This department must be congratulated on their complex and inventive contribution to the production. Well done.

SOUND AND EFFECTS
The key characters wore radio mics and although this produced good amplification, the mics also picked up a good deal of breathing and the noise of accidental knocks, particularly with Tony. I appreciate that this was the first night, and the young cast members were not used to wearing these mics. Perhaps the cast could consider a technical workshop prior to the Technical Rehearsal, to enable the performers a chance to practice wearing the radio mics?
Some sound FX were used to depict cars passing on the streets. A death toll of bells at the end of Act 1 was moving. Later, at the Dance, a sound cue for Tony was missed; and this was a key moment and so it was a shame.
The FX of the police sirens at the end of Act 1 were good.

COSTUME:
This was a well-dressed production and the costumes were true to the era and setting. The Jet girls were sympathetically dressed in lovely pastel colours (mint, peach and sky blue), which enhanced their fair complexions and their hair was worn straight and long, with half ponytails and high quiffs at the front (very 1950’s). The Shark girls were strikingly different and this was pleasing; there was a real sense of uniformity and gang membership with these appearances. By contrast then, the Shark girls had darker complexions, wore their long hair freer with curls, and their dresses had tighter bodices with dropped waistlines and frills of bright reds and purples.
The Jet boys looked great in Converse canvas shoes, T-shirts, baseball caps and jeans and at times sports jackets. Tony stood apart in his more sensible chinos and checked shirts. Anybodys looked great and ready for action in her denim dungarees.
Maria looked perfect in her white petticoats and then Dance dress. Perhaps beige or white New Yorker shoes with a small heel might have given this actress a little lift rather than her very flat white slippers? Anita looked great in her ‘Bodycon’ tight, red skirt, black vest and black ‘New Yorker’ shoes, which she swapped to a red dress with diamante detailing for the dance itself. Bernardo and Chino looked striking for the Dance in bright shirts, black waistcoat or tux and trousers.
Glad Hands looked the part in his chinos, cream waistcoat over a blue shirt and a jaunty red bow tie.
The Shark girls wore coloured bows in their hair for the dance and dropped-waist dresses in jewel-brights, whereas the Jet girls turned up in pastel, three-quarter length dresses with floral Alice bands in their hair. Tony looked smart and more mature than his Jet friends in darker chinos and a beige sports jacket. Hs height added to this effect.
Doc wore a plaid shirt, slacks and an apron as one would expect.
Later, the Jet girls looked most appealing in their pastel twin-set cardigans, (some worn back-to-front with the buttons running down the back) over tight coloured jeans.
Later we see Maria in a purple dress and Anita in a red and black skirt and off-the-shoulder top ensemble pulled in with a black waspie belt.
Act 2 saw the Shark girls in red and green dresses and Anita in a black and red striped dress and shawl.
Shrank and Krupke both looked the part.
The Wardrobe Department must be congratulated on pulling together a visually pleasing show, which was consistently true to the era. Very well done.

MAKE UP: The make-up was attractive and enhancing. The Puerto Rican girls were made to appear darker skinned with emphasised eye make-up. The boys all appeared to look natural and not made-up, which was good.

STAGE MANAGEMENT: The cast on stage were seamlessly fluid and moved about the space unhindered. The minimal set was purposeful, effective and above all safe. Some of the sound cues were a little late, but I am sure that these would have tightened up during the run of the show.

MUSIC/ORCHESTRA/MUSICAL DIRECTION: The Orchestra consisted of two keyboards, two on percussion, a bass, two reeds, two trumpets, a trombone and a cello. Ample sound was provided and the underscored playing of some of the dialogue was sensitively produced. The drums in the Mambo section were fantastic and rousing.
The Orchestra did a great job of keeping with the performers in complex numbers such as the ‘Mambo’ and ‘Cool’.
As one would expect, the music throughout was a joy to listen to.

DIRECTION: The feelings of opposition between the gangs were always evident and the use of space showed this perfectly. In particular, the entrances and exits of the gangs were always interesting and incorporated the ladders and levels in addition to the opposite sides of the stage. The animosity between the gangs was ever present.
There were many strong moments; one of which was the fast-paced banter between the Sharks leading up to, ‘America’. The zippy timing of the dialogue was truly entertaining.
In the Bridal Shop, Maria and Tony used clothes on hangers in place of clothes on tailor’s dummies. This choice was not as effective and it was tricky at times for the visual game to be comprehended. However the wedding vows were beautifully directed out front and it was a treat to be able to see clearly their faces.
The stage business around the juke box before, ‘Cool’ was very absorbing, and the rising tension felt by the Jets was tangible. There was much energy between the Jets and the Sharks at the War Council.
The Montage was successful. Anita self-absorbedly played with her hair to show that she couldn’t see Tony at that moment in time, yet that she was thinking of him.
The extended pause at the end of Act 1 was perfect and served to heighten the drama.
The exit of Tony and Maria at the end of the Ballet Sequence from their bed was a little clumsy as they ran upstage supposedly hidden by the girls in front of their bed.
Overall, this was a sensitively directed production.

SINGING: The score for this show is undeniably diverse and challenging. It was tackled admirably by the cast. West Side Story, written by Arthur Laurents with music by Leonard Bernstein and lyrics by Stephen Sondheim, provides a platform for performers who are equally talented and capable in all three disciplines, (singing, dancing and acting) and for any youth Theatre Company this is a big ask. The chorus numbers produced a good collective sound on stage, which was pleasing and not only that but the chorus members sang out with a secure knowledge of the lyrics which may sound obvious, but sadly is not always the case with Youth Theatre, so well done!
The harmonising in the ‘Jet Song’ was lovely and the boys really gave it their all by singing up and out. This was great theatre.
‘Something’s Coming’ started uneasily with feedback being picked up on the radio mic, but Tony’s ability to hold the long notes was convincing and he more than made up for this bumpy start.
The Orchestra played very effectively as the score bounced along under the dialogue at the Dance.
‘Tonight’ was beautifully sung by both Tony and Maria and Maria’s top notes were striking. What a voice! Such clarity and power. The audience omitted a collective sigh of appreciation at this number’s end.
‘One Hand, One Heart’ was a stunning number.
‘Cool’ is such a tricky song to achieve with it’s quirky timing to master and it’s simmering to bubbling quality; that combined with a live Orchestra, you have a very difficult task on your hands. This was a superb interpretation.
‘America’ was well-handled by the Principals, the chorus of Shark girls needed more attack and expression and energy to start, but this improved towards the end of the routine.
The ‘Montage’ was another fine example of ensemble playing, which deservedly received rapturous applause.
The four-part harmony in ‘I Feel Pretty’ was delightful.
Another moment of ensemble singing was during the Ballet Sequence, ‘There’s a Place for Us’, which was beautifully projected whilst holding hands. The jangling of piano keys and the intermittent trumpets’ trill accompanied the return of Tony and Maria and their bed and the harsh return to reality.
‘Gee, Officer Krupke’ was an absolute crowd pleaser. Very well done. Action belted out the song and the intended humour was very much present.
‘A Boy Like That’ was a powerful duet. It was gripping, powerful, intense and passionate.

MOVEMENT AND DANCE: This is always going to be a crucial part of any production of this show. Here we saw energy, synchronisation and style of which the cast must be very proud. From the Jets’ low bouncing and finger-clicking and their step ball-changing and shoulder isolations to the Sharks’ elegant Latino flourishes and high leaps; the choreography was suitably fast-paced, challenging and exciting to watch.
Several times we witnessed the opposing gangs enter and exit the stage by weaving provocatively past each other.
‘Cool’ was a fabulous number. Velma was a beautiful mover and the low steps and flicks punctuated by the high ‘Pows’ were great. This number showcased ensemble dancing at its best. This is a notoriously tricky number.
The Dance was successful. I would always encourage the dancers to look up and out and allow the audience to feel your energy. This was mostly the case but at times it slipped. (Shark girls do make sure that that your extended arms all end with the same positioning). Jet boys danced with enormous energy and commitment. Anita and Bernardo needed to be more precise with their leg extensions in their drop. The vocal energy here from all the dancers was fabulous and certainly enhanced the scene and the dancers’ melting exit as Maria and Tony meet was lovely.
The ‘Rumble’ used concentric circles followed by the girls hanging out in a cluster beneath the scaffolding and the actual knife fighting was excellent.
The Leapin’ Lizards was a nice touch in, ‘Gee, Officer Krupke’.
The taunting of Anita was very good, with plenty of movement in a circular formation; teasing her like a bull before the lifting and suspending of Snowboy atop her.

THE CAST:
Tony: Spoke with an authentic American accent which seemed natural and gave immediate maturity and sensitivity to the role. He first appeared carrying Doc’s sign and a tool box and his relaxed use of space was really engaging. He seamed at ease on stage. Be careful not to breathe into your mic as you kiss Maria’s hands! Tony coped admirably with the higher notes in ‘Maria’. This was an expressive and heartfelt performance. When he was back on the ground and looking up at Maria, it was a very absorbing moment of theatre. Tony’s performance during the Rumble was superb; he was completely absorbed in the action, even when upstage and his stabbing of Bernardo was conscious, careful and disciplined. His final cries for Chino to come and get him were heart-wrenching.
Maria: Her accent was very authentic and her vocal tone was suitably rich. Her posture and poise at the dance as she meets Tony was sincere and very endearing. Maria’s singing voice was outstanding. Such power and clarity and her top notes were incredible! This was a mature voice. As she sang, she expressed innocence and wonder at the world of music, dancing and love. ‘I Feel Pretty’ was a charming song, sung with real feeling depicting her innocence and excitement and this was accompanied with lovely gestures and a pleasing level of eye-contact with the audience. This was a very strong performance indeed.
Bernardo: This was a consistently good performance. He maintained a facial expression of fierceness and control throughout. His first entrance was striking, as was his sweeping exit prior to ‘America’. Bernardo could have done with more vocal power at times, but his vindictive threatening up close to Shrank before whistling and exiting was super.
Anita: This was a good performance. Her singing was lyrical and tonally pleasing. Her physicality was strong; showing attitude and fear simultaneously. (Do pause a little more and really savour those words). Her sassy delivery was perfect for the disdain needed in, ‘America’. Her performance in the taunting scene was perfectly pitched.
Riff: This was a superb performance. He was a confident and sure-footed dancer, whose moves were smooth and considered yet punchy and athletic. Vocally, his American accent was pleasing and his delivery was expressive. Physically he made explosive gestures as a result of his pent-up energy and desire for the Jets to be the best in town. His solo in ‘Jet Song’ was very pleasing and he sang with a lovely, rich vocal tone and sustained the longer notes well. His solo in ‘Cool’ was very well achieved with super lower notes. His Street fighting moves with the knives were fabulous; very powerful and balanced.
Action: Here was another strong performance. He was pitch-perfect in ‘Gee, Officer Krupke’. His energy and verve really made this number come alive. His long note was held as he waited for a Social Worker.
A-Rab: ‘Dig, dig, dig’. In, ‘Gee, Officer Krupke’ he was a little timid but the effort was undoubtedly there and his German accent was good.
Baby John: Looked every inch the part; tall and unconfident in his physicality, almost hiding out under his baseball cap. He looked believably scared as he read his comic at the War Council. His robotic moves in, ‘Gee, Officer Krupke’ were amusing and made the audience laugh.
Snowboy: Played the female Social Worker in ‘Gee, Officer Krupke’ to great effect.
Anybodys: Played with a super, light-footed quality and spoke and sang with a lovely lyrical quality, with beautiful diction and tone. After the Rumble, she came into her own and her focus on tidying up the scene with her stressed and laboured breathing was superb. Her dancing solo in the Ballet sequence was charming and was made even more so when she turned to face the audience as the three long billowing white lengths of floaty fabric were unrolled down to the stage floor. Her American accent was spot-on and her kick on Snowboy’s behind was great!
Chino: Was gentle and unassuming and quietly confused when the plot thickened. This performer had lightness to his physical work. There were some pleasing facial expressions at play here.
Pepe, Indio, Luis: These guys looked perfect in role and their use of space was super. Energetic and passionate. Well done.
Doc: Was played by another adult actor. He was a loveable and kindly character. His fears for his young friends were tangible.
Shrank: An adult actor. His relaxed stage presence, slouchy posture with hand in jacket pocket, and thick Bronx accent added to the entire show. This was a strong performance.
Krupke: Another strong performance from an adult performer. His exasperation was evident.
Glad Hand: This was actually a ‘Safe pair of hands’ and a lovely performance of the good, old character whom is so desperately out of his depth at the Dance, yet whom still hopes for a decent outcome. Another adult performer here, and indeed Vice Chairman and Producer of the show.
Graziella: ‘An American Tragedy’, was spoken with super sarcasm. A lovely cameo performance.
Velma: Was a superb dancer. Her lifts were consistently spot-on. ‘No, thank you-oo, ooblee-oo.’ Was a cute line and delivered with a sparkle in her eye. This was a focused and polished performance.
Minnie, Pauline, Clarice: These girls added to the cutesy yet determined group. The importance they put upon their appearance was sassy and evident. Well done.
Jet Girls: They were a slick bunch who worked well as a tightly-formed group from the outset. They made several memorable tableaux throughout and used the space well. The dancing was neat.
Rosalia: ‘No loss!’ was a lovely line before, ‘I Feel Pretty’. Cute and worldly at the same time.
Consuela: This was a very strong performance and Consuela was consistently striking, articulate and attractive. Her solo exit with hair flick was comical and perfectly attention-seeking. ‘A Gain!’ was a cutely delivered line, before, ‘I Feel Pretty’. She was always expressive; facially, physically and vocally. Well done.
Francisca, Estella, Teresita, Margarita: These girls worked hard to create the necessary atmosphere in their scenes. They looked very much of the era and their harmonising and dancing certainly added a vibrancy to the overall production.
Shark Girls: They were having fun, but could have perhaps had even more and let go. They seemed at times slightly unsure at times, but on the whole they looked great and certainly added to the general gang atmosphere on stage.
Somewhere Soloists: This was stunning. Well done to all involved.

EFFORT, ORIGINALITY AND ATTAINMENT:
This fine production was the result of four months of twice-weekly rehearsals. This was a great achievement and it is so encouraging to see young performers dedicating their free time to rehearse for and stage big, classic shows like West Side Story. This was a fast-paced, finger-clicking, highly visual production with some superb ensemble playing and some very talented solo performances too. Very well done.

Thank you for your most kind hospitality and I wish you every success with your next production,

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