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Though the gang violence raging in Oldham
this week acts as a chilling reminder of West Side Story's continuing
relevance to today's society, it is not this lasting relevance alone
which makes it so enduringly popular. True, different ethnic groups
are still beating and killing each other on the streets of cities
the world over, just as the whites and Puerto Ricans were in 1950s
New York. But West Side Story is, above all, a love story, and as
such is no more nor less perennially relevant than any other love
story. Besides, West Side's violence is always at one remove, necessarily
sanitised to make good theatre; it is hard to imagine the youths of
Oldham interspersing their fighting with spectacularly energetic dancing
competitions, or entertaining each other with hilariously clever songs
at the expense of the local constabulary. And the language isn't nearly
bad enough.
What keeps the crowds flocking to West Side is its moving story (if
rather unoriginal - it is fitting that Romeo and Juliet is playing
just down the road at the OFS); its wonderfully clever, bittersweet
lyrics (when Stephen Sondheim started writing musicals all by himself,
they tended to achieve most of their acclaim on the strength of their
words); and, perhaps most importantly of all, Bernstein's dazzling
score. At once jarring and melodious, angry and sentimental, brash
and delicate, the music leaves you with tunes to hum at the same time
as moving you insidiously to tears, and has you tapping your feet
at the same time as it dazzles with its symphonic complexity. Bernstein's
score is made for dancing, and this is where many productions can
fail: if the movement on stage does not live up to the excitement
of the music, one is left feeling one has missed out on something.
For the final ingredient that made West Side Story such a smash hit
at its 1957 premiere was Jerome Robbins' spectacular, ground-breaking
choreography. And this is why Oxford audiences should make every effort
to get to Apollo theatre before 9th June; for this production, touring
Britain after an acclaimed run at the West End, recreates Robbins'
choreography in all its breathtaking, energetic detail. Robbins brought
ballet to the musical stage: from the moment the curtain rises one
finds oneself captivated by the intricacy, drama and fluidity of the
movement on stage - true poetry in motion. Granted, it is hard to
feel truly threatened by any "hoodlums" who are capable
of such beautiful dancing, but the choreography does take a violent
turn when the occasion demands. And besides, the gangs' dancing is
made to look hardened and masculine by comparison when the Puerto
Rican girls get their skirts flying in America.
Spectacular choreography would, of course, be nothing without a spectacular
cast to perform it, and this cast is just that, making the dance steps
look easy, and infecting the whole performance with youthful energy.
Particularly impressive were Julian Essex-Spurrier as an inspirational
yet vulnerable Riff, and Emma Clifford, whose sultry looks, fine deep
voice and elegant dancing made her a thoroughly sensuous Anita. A
wonderful show performed with real panache, this production is only
in Oxford for 9 more days: don't miss your chance to see it.
Matthew Rogers, 30 / 5 / 01
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