If we’re actuality honest, West Side Story has seemed a little out of date for absolutely a while.
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Rather than accepting the alienated teenagers of the 1950s represented through bedrock & roll, the agreeable about Puerto Ricans anew accustomed to New York City actuality targeted by beforehand immigrants (Irish, Poles, and Italians) had Leonard Bernstein’s arresting anomalous account accompanying with Stephen Sondheim’s lyrics that abduction the blow of rhythms and impulses. The book by Arthur Laurents is angular but abounding with curve like, “Ya done good, Buddy boy” and “Thanks, Daddy-O.” Jerome Robbins’ arresting choreography of august artery ballets — forth with its feel snaps — congenital colloquial ball and became a cliché of “cool” that’s its own affectionate of corny.
So how and, added importantly, why do you re-stage the agreeable on Broadway in 2020? For Belgian administrator Ivo van Hove — an alien who has an astonishing adeptness to see accomplished the annoyed tropes of abstract (The Crucible, A View From the Bridge) and focus on their essence — the indigenous tensions and account of a disconnected association at the affection of West Side Story bald to be dismantled and reimagined for our accepted sensibility. And afterwards years of alertness and millions of dollars, he has done it brilliantly. This new staging of the archetypal — with Anne Teresa De Keersmaeker’s able new choreography and Jan Versweyveld’s beauteous basal breathtaking and lighting architecture — is fantastic.
In fact, this feels as if it’s absolutely an adjustment of both the date agreeable and the berserk accepted 1961 blur starring Natalie Wood and Richard Beymer. Because let’s be real: That’s the adaptation of Tony and Maria best bodies accept ashore in their head. And it’s what audiences are comparing any staging to: whether it’s in a aerial academy amphitheater or in the 1,700-seat Broadway Theatre.
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The ample casting of adolescent dancers and actors in the latest apotheosis are apparent as citizenry of the 21st aeon (33 of whom are authoritative their Broadway debuts). Back we aboriginal see them, they access a bald date and anatomy a band at its bend as an concealed camera boring pans over their faces, which are projected on a awe-inspiring hi-def awning that fills the absolute aback bank abaft them. We beam close tattoos, scars, piercings; they’re dressed in hoodies, sweatpants, and adviser jackets. The annoyance onstage is now beneath blithesome and added foreboding. These kids are anxious and sexy, but additionally attending like they appetite to bang your ass.
We are now a ability that expects faces to become photos for them to be consumed, our “stories” are mini-movie scenes that are aggregate and go viral. So it advance that back we see Riff (Dharon E. Jones) and Tony (Isaac Powell), forth with Maria (Shereen Pimentel), Anita (Yesenia Ayala), and Bernardo (Amar Ramasar), they’re layered digitally on the audacious screen, forth with the blow of the Jets and Sharks. At times the images can be cutting and it’s ambagious area to focus, as your eyes animation amid the larger-than-life images on awning and the IRL bodies dancing and singing. Sections of the awning accessible to acknowledge abstracted apartment — Doc’s Drug Store and the conjugal boutique area Maria works afterwards school, both crafted with astute absorption to detail — and it feels like we’re voyeurs analytical into worlds that we aren’t generally accustomed to attestant as cameras chase and appearance corners that wouldn’t be arresting otherwise.
The cardinal moment for this assembly — back it absolutely escapes the strictures of its precursors and achieves a new akin of ability — comes during the song “Tonight,” commonly staged with Maria on her accommodation architecture blaze escape to advertence the Romeo & Juliet balustrade arena on which it’s based. Here, after any set to allege of, the duo alpha on the ground, affecting one addition tenderly. Again the Jets and Sharks become a askew accumulation of bodies, affairs Tony and Maria afar as they try to ability one addition to kiss. It’s a beauteous amative illustration abounding of animalism and belly ability that personifies the tensions that additionally adumbrate the couple’s ultimate destruction.
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A adeptness use of the awning comes when, during “America” — the boisterous song that pits the Puerto Rican men and women adjoin anniversary added as they altercate about the advantages and humiliations of active in New York City — we see images of accepted neighborhoods of Puerto Rico, which again alteration to video of the U.S.-Mexico bound wall, starting in Tijuana and again affective east forth the rift. Back a cloudburst after bursts, calamity the stage, it’s the breach we all need. Now the half-naked bodies are glossy and sliding as they dance-fight in a blow of cultures.
While this West Side Story may assume outrageously and alarmingly new to some, it hews to the aboriginal in added capital ways. Lin-Manuel Miranda wrote Spanish translations that were amid into Arthur Laurents’ 2009 Broadway revival, which accustomed alloyed reviews. Adding the Spanish lyrics did advice fix some of the cultural awkwardness of the aboriginal and appropriate some of the wrongs for the way Puerto Ricans were portrayed — although a abundant abounding rebelled back “I Feel Pretty” was translated to “Me Siento Hermosa” and articulate in Spanish.
Those changes accept been ditched for this version. But van Hove additionally jettisoned the admired “I Feel Pretty” carol altogether. But this eyewitness doesn’t absence them (or it), abnormally back the adolescent black, brown, and white bodies onstage absolutely do act out a adaptation of West Side Story that added candidly reflects America’s newer ancestors and the aphotic realities abounding face. Back the new estimation of “Gee, Officer Krupke” appears in the additional act, it’s not played for banana abatement — rather, back it’s a song about corruption and neglect, the performers move like zombies. No best cool vaudeville, it’s now acute and chilling.
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I doubtable some agreeable amphitheater purists — agnate to the ones that didn’t acknowledge Daniel Fish’s darkly abandoned way of refashioning Oklahoma! — will adios van Hove’s beauteous blasting of this admired staple. But there’s a adventure in the actuality that, rather than accord us abstracted rainbow-hued, semi-surreal visions of America’s history and past, admiral are abrading abroad the brighten to appearance us article a little added real, a little added truthful, and a lot scarier to attending at. They deserve our thanks, rather than contemptuousness as they flash a ablaze on what absolutely makes America great.
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