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by Don Church and Tony Schillaci, Critics On The Aisle™

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

This first-rate revival of “West Side Story” is a more hard-edged tale of the Hispanic and Anglo gang turf wars on the streets of New York than the original 1957 production.

The theatrical and social conventions of the era neither allowed the use of authentic street language nor discouraged racial inequality. “West Side Story” is a perfect example of white-washing shows. In its original form it portrayed Hispanic gangs as the bad guys while making heroes of the Anglo gang members, and the verbal and body language was sanitized.

The 21st-century was the right time to bring authentic speech, non-bigoted characterizations and a more honest book to one of the theater’s most acclaimed musical productions. It already had a highly acclaimed score by Leonard Bernstein, powerful character-defining and plot-driving lyrics by Stephen Sondheim in his Broadway debut; and Tony Award-winning choreography by Jerome Robbins. So who better to rewrite the libretto than the legendary librettist, playwright, screenwriter, director Arthur Laurents? He wrote the original one for “West Side Story” and was never happy with many elements of his first effort.

He decided to re-write and direct this radically different version of the show. The only serious flaw in the “new” book is that Mr. Laurents retained some of the euphemisms such as “mother-lovin’’ “krup you” and “buggin” instead of using the authentic profanity that real people have always used on the street.. Laurents has succeeded in putting the Anglos and the Hispanic on a level playing field and given a realistic jolt of heat between Tony and Maria in all their love scenes, including the show-stopping duets, “Tonight” and “One Hand, One Heart.”

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

And the one song that so perfectly articulates the heart and soul of this musical variation on Shakespeare’s “Romeo and Juliet” and elicits the most profound emotional response from audiences – as all great musicals should but so seldom do today – is “A Boy Like That/I Have A Love.” This first sign of Sondheim’s lyrical genius says, “When love comes so strong, there is no right or wrong, your love is your life.”

Added to the greatness of Bernstein, Sondheim and Laurents the “West Side Story” stage explodes with some of the most exciting and energetic dancing ever seen in any musical, ever. And the ensemble is flawless; it leaves you breathless and exhilarated. Originally choreographed by Jerome Robbins it’s skillfully reproduced in this superb national company by Joey McKeely.

This revival of “West Side Story” on which this tour is based opened on Broadway to critical acclaim in 2009. It was written and directed by Arthur Laurents who died at the great age of 93 on May 5, 2011. This national tour company is deftly directed by David Saint. The West Side Story Orchestra is conducted by John O’Neill and associate conductor Paul McCaffrey with Steve Sanders on Keyboards, Rick Donato on drums and Michael Meza on trumpet – all superb musicians who make Bernstein’s music soar.

Kyle Harris as Tony and Ali Ewoldt as Maria give life, vulnerability and passion to their characters, while brilliantly interpreting the songs as though the words and music were written especially for each of them. The chemistry between Kyle and Ali is a rarity seldom seen in today’s current musicals.

Michelle Aravena as Anita is all fire, music and passion. She is bold, strong and takes command of each of her numbers. Ms. Aravena is a superb dancer/singer who is also a fine comedic actor as in “America” and then poignant and heartbreaking in ‘A Boy Like That/I Have A Love,” in which she warns Maria to quit Tony.

COURTESY of BUSHNELL and the NATIONAL TOUR OF WEST SIDE STORY

One of the levelers in giving equal weight to both the Jets and the Sharks is the use of Spanish lyrics in many of the songs. When the Puerto Rican girls are putting together an outfit for Maria to wear to the dance she and they sing “I Feel Pretty” first in Spanish and later in English, giving more authenticity to the song. In the neighborhood “Tonight” quintet, the Sharks chorus responds in Spanish to the threats and boasts of the Jets singing in English.

The exhilarating dancing and vocal talents of the ensemble are unquestionably five-star worthy. Each member of the cast beautifully wears his or her character like an alter-ego. Especially engaging is Drew Foster as Action, who shows us a slight madness in his characterization of a juvenile delinquent ready to explode. John O’Creagh as Doc, the owner of the drugstore hangout, nails his part when one of the Jets rips off some cigarettes from him and then asks “do you mind?’ Doc replies, “Mind? I have no mind! I’m the village idiot!”

“West Side Story” is not only a love story, but also one of bigotry, hatred, violence and in some ways, hope.

Even Arthur Laurents, in re-writing some of the libretto mentions that although this show was written some 54 years ago, we still haven’t learned, and the same prejudices and phobias exist, and in many places are worse than they were a half century ago. Yet to see “West Side Story” is an invigorating experience which, judging from the number of young people in the audience, might just, this time around, change some hearts and minds for the better.

WHAT’S UP THIS SUMMER & FALL…

WHEN: “Wicked,” 8/24 – 9/11. “Jersey Boys,” 10/19 – 11/6 2011

WHERE: The Bushnell Center for the Performing Arts 166 Capitol Avenue, Hartford

TICKET PRICES: “Wicked”: $33.00 – $89.00. “Jersey Boys”: $25 to $89

BY PHONE: (860) 987-5900

ONLINE: www.bushnell.org. Buy Tickets Online

Copyright © 2011. Critics On The Aisle™. All rights reserved.

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by Don Church and Tony Schillaci, Critics On The Aisle ™

Opening Trio: Nick Anastasia, Talisa Friedman and John Debkowski. Photo Courtesy Brett Bernardini

The Spirit of Broadway Theater in Norwich has a hit in the making with the premiere of the new feel-good musical “SNOW.”

Exceptionally talented writer, composer and lyricist Sean Harley bills his melodic and comedic show as “a musical romance” – while also being very funny and reflecting serious societal themes that are still relevant today.

Set in New York during the ’69 Vietnam war protests, the Stonewall revolution, and the time of ‘free love’ and drugs, this fresh and engaging look at budding romance and friendship, gay and straight, has so many laugh-out-loud moments that the social issues are relieved by laughter without being trivialized.

With the exception of a manipulative folk-singer diva, all of the characters in “SNOW” are real and likeable.

SBT ‘veteran’ Shawn Rucker – one of our favorite actress/singers – plays Jet, a lesbian pot pusher with a foul mouth, a tough swagger, and the proverbial heart of gold – for women, that is. The object of her admiration is Georgia, a college student experiencing her first time away from home and alone in New York, played and sung beautifully by Talisa Friedman. Jet and Georgia are exceptional in the duet “I Like What I See.”

Also enraptured with Georgia is Kyle, a songwriter-singer, who is brought to life by the engaging and silver-voiced Nick Anastasia. He’s at his best in the beginning of the second act singing the beautiful ballad “Home,” which also closes the show.

If things aren’t too confusing by now, add to the mix John Debkowki’s adorable interpretation of Raven, the best friend of Kyle, whose interest goes beyond friendship.

Raven tells of his first inkling of same-gender feelings in the lovely song “Steven Ivy.”

The anthem song of the show is sung by Stephen Scott Wormley who plays a loveable bitch-slapping queen named Milton. Milton leads the ensemble in “Come Out” a rousing and uplifting celebratory number, which closes the first act, and is a patriotic ode to the gay-rights movement.

Another ensemble song “Kansas” is a clever tribute to “The Wizard of Oz.”

Composer/lyricist Sean Hartley has cleverly taken the recognizable Harold Arlen classic tunes and Yip Harburg’s words and re-invented them to fit the coming-out and being true- to- you theme of “SNOW.”

Although chock-full of timely subjects, from drug use to abortion to discrimination and police brutality, nothing in the show is preachy or dark. The light hand of the triple threat writer/lyricist/composer gently pens the issues with grace, humor and style, and the songs are full of lovely melody and harmony.

One minor adjustment could be made in the staging of “The Snows of Malibu” which was a trifle over-the-top ‘carnival in Venice’ attempt to suggest the mind-altering effects of cocaine use. A more subtle hand in both choreography and costuming here would serve the rest of the production well.

Yet make no mistake; if you miss a hit of “SNOW” this go-around at the Spirit of Broadway, you will be paying, sometime in the not too distant future, $147 a seat to see this soon- to- be Best Musical in New York, or Boston, or London. So, come out, come out, wherever you are.

If you go…

WHAT: “SNOW”

WHEN: Through June 5 WHERE: Spirit of Broadway Theater, 24 Chestnut St, Norwich, CT

TICKET PRICES: $21 Group Rate (10 or more), $30 individual

BY PHONE: 860-886-2378 ONLINE: www.spiritofbroadway.org

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by Elizabeth Lafontaine, with Don Church and Tony Schillaci, Critics On The Aisle ™

Gabrielle Ruiz and Tony Yazbeck and the cast of "MY ONE AND ONLY". Photo by Diane Sobolewski

Imagine being transported to the high life of 1920’s Manhattan, with speakeasies, flapper dresses, bathing beauties, a Russian impresario, a lady mechanic and a daredevil pilot.

Welcome to the playful production of “My One and Only” at the Goodspeed Opera House.  The 1983 Tony Award-winning show, largely based on George and Ira Gershwin’s classic 20’s scores from prior musicals such as Funny Face, takes the audience back to a time when money was almost no issue and elegance was standard.  From the ushers dressed in top hats to the black and white films screened on stage during the performance, the theater was transformed into a realistic and compelling setting for the musical.  While the book is of an era long gone, Gershwin’s classic score still has a modernity that enthralled the audience.

The story of “My One and Only” revolves around the unique romance between Edythe Herbert, a British aquatic nymph, and Captain Billy, an ambitious pilot and southern gentleman.  The characters, played by Gabrielle Ruiz and Tony Yazbeck, moved the show along nicely through the plot with their melodic voices and skilled dance scenes, although there was a shortage of chemistry between the two.

Yazbeck’s dazzling dancing skills were superb, especially in the many spectacular tap numbers.  The show stopping performance on the ladies side came from Kirsten Wyatt’s portrayal of the spunky yet sweet Mickey.  She was able to deliver the dated script’s words in a witty manner, leaving the audience laughing at every joke, especially through her physical and rhetorical comedy.  The male stunners – Alde Lewis Jr. as the suave Mr. Magix and Trent Armand Kendall as the personable preacher – were both believable and charismatic, something that livened up the acts considerably.

It’s easy to only highlight the main players, but here the chorus and ensemble’s efforts should be duly noted.  Their tap dancing talents were the highlight of the show, especially the umbrella opening scene.  The dancing in the show consistently elicited an enthusiastic response from the audience. It was lively, giddy, and showy, just as it should be in a prohibition era musical.  The choreography of Kelli Barclay was clever and delightful, challenging enough to stun the audience but also to hold their interest.  Her choreography made us want to buy tap shoes and dance down the street!

Tony Yazbeck and the cast of "My One And Only". Photo by Diane Sobolewski

The costumes by Robin L. McGee were both stunning and whimsical. They evoked the glamour of the roaring 20’s, but also had hints of contemporary fashion that livened up what could have been cliché.  With the furs luxurious and the bathing suits cute, the costuming was the perfect fit for the show.  The set was basic enough to allow for the various dance numbers, and relied heavily on Paul Miller’s screen and lighting projections.  At times these were a little busy, but still helped to set the appropriate mood for the show.  Our favorite sets included the movie theatre scene and the Manhattan car ride through Central Park.

Overall, “My One and Only” is a charming look into the glitter and glam of the 20’s through exciting song and dance numbers. The show is not meant to tug at the heartstrings, but instead this theatrical version of cotton candy provides necessary relief from the stresses of the real world.  It is a fun musical fit for classic Broadway musical lovers and dance fanatics, a true masterpiece of tap dancing that is rarely seen anymore.  Despite some minor kinks, the show is most definitely the opposite of that word that rhymes with “snappy”, and a must see for a night of fun, fantasy, and frivolity!

“My One and Only” runs at the Goodspeed Opera House in East Haddam through June 25^th.  For tickets and information, call 860-873-8668, or online at www.goodspeed.org.

© Copyright 2011.  Critics On The Aisle ™. All Rights Reserved.

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