Film: West Side Story
Magnificent!
This masterpiece changed dance in the UK forever. When I first saw this miraculous work in 1960 at Her Majesty’s Theatre, Haymarket, whilst appearing at The Prince of Wales, it changed my perception of what a dancer could really be. Instead of being the glamourous chorus girl you could leap on stage, vault over wire fences, wear sneakers and create a real character. It was a life changer for all hoofers in the West End.
The film followed in 1961 and a love affair started which has never waned. So, when Steven Spielberg announced he was planning a remake, I approached it with trepidation and excitement. In a cinema with only five people present this became a moment of renewing my vows of love.
This magnificent reworking has for a start an 84-piece orchestra playing the marvellous score by Leonard Bernstein. It stays true to the vision of Jerome Robbins, brings clarity to the lyrics of Steven Sondheim, and pays homage to Robert Wise’s original direction. From the overture and the iconic panning over the New York slums, this time their demolition is to make way for the Lincoln Centre, and with proper opening credits (not a mini-list at the end when everyone walks out) the audience knew they were witnessing a work of genius.
The new book by Pulitzer Prize winning playwright Tony Kushner allies itself with Shakespeare’s play more closely, not focusing just on the central doomed romance, but allowing the actors to develop their characters and bring more resonance to the songs and the dance. This provokes a standout show from Mike Faist playing Riff. Having researched back stories based on Gangs of Brooklyn he plays his part with much more intensity and grit. He is skinny, strong, and edgy, with the violence just beneath the surface. He is Mercutio! And oh boy, can he move! It would be difficult to top George Chakiris as Bernardo, but David Alvarez does a good job as Maria’s protective brother, again a terrific mover. Ariana DeBose is a vibrant Anita - maybe a challenge working with the original creator of the role, Rita Moreno, who this time plays Doc’s widow and owner of the drug store. What an amazing woman at 90. Her poignant reprise of ‘Somewhere’ brings a stronger depth to the finale. And how about the two protagonists? This time the role of Maria is taken by 18-year old unknown Rachel Zegler, who beat over 2000 hopefuls. She is beautiful and sings the role herself live (Natalie Wood was dubbed in the original film version). She holds the film in the centre. The role of Tony, played by Ansel Elgort, has come in for some criticism in the press. Probably because, at the centre of Shakespeare’s play, Romeo is a drip. However, Ansel’s performance is rather wonderful. He is tall, emphasising her petiteness, and his singing is tone perfect. Particularly in ‘Somethings Coming’. This is not a role for opera singers, as Jose Carreras found out in that memorable clip of Bernstein with his head in his hands while recording a CD with him and Kiri Te Kanawa. The balcony scene is dynamite with superb direction as he tries to weave his way through the staircases of the slums. When it comes to ‘America’ the artistic decision was obviously made to stage it as a street scene. Not as strong as the original performance on the roof tops. He obviously decided not to challenge the roof top sequence with Moreno and Chakiris.
Choreographer Justin Peck made a terrific decision to stage the iconic meeting at The Dance at the Gym at the rear of the bleachers. This leant a special meaning to the original choreography of Jerome Robbins. Choreographically he recreated Robbins’ work, using the signature moves but blending them artlessly with new ones. Faultless.
Spielberg delighted me on all scores. I have always yearned for the glass-coloured panels in Maria’s room from the original film and there they were again. Also the red ribbon on her white dress, empathised by Anita taking it off her own and placing it on hers.
And as for the gangs themselves. The Jets excelled themselves in ‘Officer Krupke’ bringing out the wit and truth of the lyrics. Does anyone know these days what ‘Grandma pushes tea’ means? And how the dancers avoided injury with the fight sequences and rubble is amazing. Robbins brought so much dynamism to dance. Modern film owes him so much. Dance in the street, everyday clothes, dirty faces.
Apparently, because it is available on the big screen only, box office takings have been poor. But Spielberg has recognised that this story is too big for streaming, pausing to make a cup of tea, or fast forward. This is a proper work of art and should be enjoyed as such.
‘West Side Story’ was born in a time when three great artists came together to create a masterpiece. All hail to Sondheim, Bernstein, and Robbins! Spielberg has ensured you live for another age. I implore you to go and see what a real movie musical can be. As Shakespeare says at the end of Romeo and Juliet ‘go forth and think of these sad things’. You will not be disappointed.
