Phoenix Theatre's West Side Story
(out
of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 9/18/98
(out
of )Phoenix Theatre's Artistic Director, Michael Mitchell, has been committed to raising the bar for Phoenix Theatre's artistic endeavors. While attempting this, he has also been trying to cast non-traditionally, and mix theatre professionals with emerging artists. While this may result in some unbalanced productions, it has the beneficial effect of giving local talent a chance to work in a professional situation. Nowhere are these two points more evident than in their season opener, the classic musical West Side Story, which, out of a total of 33 people in the cast, includes 11 Hispanics, a Black, an Asian, and 6 valley High School students.
While it is a commendable achievement, the ultimate result for the audience is an artistically interesting production with a definite spin by Mr. Mitchell. This spin sometimes involves the audience, drawing them into the world of the play, and at other times jolts the audience, leaving them wondering about the artistic and casting choices that he has made. When this production of West Side Story clicks, it works on many levels and is a joy to watch; when one of Mr. Mitchell's choices doesn't work, it draws great attention to itself, making the audience observers rather than artistic participants.
A perfect example of the balance of Mr. Mitchell's artistic choices is evident near the end of the first act; a normally touching and moving moment between Tony and Maria, the song "One Hand, One Heart" becomes almost robotic by a decided lack of eye contact between the two young lovers. And yet, moments later, in the montage version of "Tonight," as everyone prepares for the rumble in their own way, the moment is electrifying, allowing for the perfect build up of tension and anticipation. Mr. Mitchell's theme seems to have been to make this West Side Story jazzier, and a little less brutal and realistic. While definitely making this production his own, some of the original elements that made this show so popular are missed in this version.
In terms of casting, Mr. Mitchell is perfect with his casting of ASU junior Jeanine Pacheco as the child-to-woman Maria. Ms. Pacheco's wonderful and sweet voice is perfectly complimented by her impeccable acting of Maria's rise from childhood to womanhood through the course of the play. On the opposite side is the weak choice of Bryan Slade as Tony. Mr. Slade has some vocal hesitations, and his acting of this pivotal role never seems to rise above a simple musical theatre level. And so this schizophrenia continues with the entire production.
There are several commendable performances. First, Richard Manera is wonderful as hotheaded Puerto Rican and brother to Maria, Bernardo. Another standout is Philip Haldiman as the boyish Baby John, who is given a bit more focus by Mr. Mitchell, and to great effect. Another standout is Stacie Lambeth as the tomboy Anybodys. Kudos go to Robert Allocca as the appropriately named Action, who delivers in acting, singing and dancing. Also effective, though his vast talents are unfortunately not textually given much time to shine, is Nicolas Glaeser as the harassing policeman, Lt. Gladhand.
There are also several solid performances including one from the somewhat miscast, though valiant Michelle Gardner as the passionate Anita. Ms. Gardner does well with her singing and acting, though both her accent and her dancing are a bit inconsistent. Solid, too, is Rob Sucato in his menacing role of Officer Krupke.
The biggest of disappointments, besides Mr. Slade's performance of Tony, are those of Hal Adams' Riff, who just doesn't pop from the rest of the Jets as a leader should, and Paul Benchwick as Tony's conscience, Doc. Mr. Benchwick's portrayal is so weak and ineffectual, audiences have to wonder how this character ever became important to Tony in the first place.
The chorus, too, is split between solid members and weak, with some having solid voices and unimpressive dancing, and others the opposite. More often than not, things work, but what doesn't is obvious.
One of the most important elements of this show, the dancing, is impressively choreographed by James Zager, but very few of the performers were up to his precise movements. Much of the dancing seemed a bit less powerful than it should be, and definitely lacked synchronization.
The usually wonderful orchestra, led by talented Jerry Wayne Harkey, seemed off on the opening night. Too many sour notes and missed cues brought down an otherwise complimentary orchestra.
Jeff Thomson's scenic design redefines the term "stark." His confining use of blacks, reds, and the occasional blue worked with the theme of the show, even as at some points, it drew attention to itself. Paul Black's equally stark and artistically interesting lighting design was wonderful, as was David Temby's sound design and Paula Davis-Larson's costumes.
While not one of the best productions of West Side Story
presented in the valley, this version does have some elements
and moments that recommend it and make it shine. Prospective audience
members just have to accept those jarring moments to enjoy the
magic within.
Production Details:
West Side Story
Book by Arthur Laurents, Music by Leonard Bernstein,
Lyrics by Stephen Sondheim
Phoenix Theatre, Phoenix
254-2151
September 18th - October 11th, 1998