Was at last night’s performance and found this production astounding and a gorgeous reinvention of WSS. Definitely a polarizing revival but I loved it and am still thinking about it. I hope to be back soon and can’t wait to read reviews.
They have plenty of time still to work out all the kinks."
Wha??? Are they reimagining it?
Yes they are. It's set in present day rather than 1957.:
I think Skip was saying that unless they re-imagine it again (from what they're currently doing), they production won't be able to work out its "kinks," because Skip did not personally enjoy the production at all.
Liked it, didn't love it. Costumes are just awful, like something futuristic. Having heavy drama play essentially off state and accessible by just video just really disconnected me from the drama.
What do they do if there is an understudy? Have they filmed this vignettes multiple times to account for change in cast?
Didn't like the way Maria was directed. She comes across flirty and Maria should be reserved and shy at first. She needs to evolve and I don't think she does in this production. This Maria wouldn't sing "I Feel Pretty." It is for a girl who has been protected and somewhat of a wallflower up until the dance and this Maria was no wallflower.
Couldn't tell the difference between Jets and Sharks. They all blended.
SPOILER ALERT:
And I hated the staging of Tonight. No balcony scene?? And how heavy handed was each sides "pulling" of Tony and Maria as they reached to kiss? Subtle much?
It does make you wonder how much he... uhm... lifted from that production for this one.
The Komische production was amazing, by the way: two and a half hours of raging testosterone, with performers who were incredible to watch. I dont know if there's a full video out there of it, but I hope so. I left the theatre exhausted.
So first we accuse Ivo of repeating the same theatrical tricks and tropes over and over again and now we are to believe that he has stolen his entire style from some random German theatre company?
Impossible2 said: "So first we accuse Ivo of repeating the same theatrical tricks and tropes over and over again and now we are to believe that he has stolen his entire style from some random German theatre company?
Ok..."
The Komische is hardly "random". Maybe you should learn a bit about these things before posting about them? Just a suggestion, you understand. I mean, I realize you're a whiz-kid when it comes to film financing and now opera history, but... y'know.... maybe research a bit?
I think what some people may not realize is that European directors often have very similar approaches to theatre as each other - at least compared to more traditional American theatre. Things like modern dress, live-stream video, stripped down staging, drastic re-interpretations of texts etc. are all trends that are very common in European theatre. I find that a lot of productions I see from European directors - including Van Hove - often feel kind of the same as each other. And I actually don’t think Van Hove is particularly special, he’s just only of the only European directors who has gained popularity in the US.
The real test, IMO, is not what European directors will do with certain material, but rather, how well does the material lend itself to the European approach to theatre. In this case, I think Van Hove picked material that worked well with his style to make for an interesting production. But I’m not at all surprised that someone else in Europe has already directed WSS in similar, non-traditional style, and I don’t necessarily think that means Ivo lifted anything. Because that’s just often how European productions are,
JBroadway said: "I think what some people may not realize is that European directors often have very similar approaches to theatre as each other - at least compared to more traditional American theatre. Things like modern dress, live-stream video, stripped down staging, drastic re-interpretations of texts etc. are all trends that are very common in European theatre. I find that a lot of productions I see from European directors - including Van Hove - often feel kind of the same as each other. And I actually don’t think Van Hove is particularly special, he’s just only of the only European directors who has gained popularity in the US.
The real test, IMO, is not what European directors will do with certain material, but rather, how well does the material lend itself to the European approach to theatre. In this case, I think Van Hove picked material that worked well with his style to make for an interesting production. But I’m not at all surprised that someone else in Europe has already directed WSS in similar, non-traditional style, and I don’t necessarily think that means Ivo lifted anything. Because that’s just often how European productions are,"
Anshel2 said: "What do they do if there is an understudy? Have they filmed this vignettes multiple times to account for change in cast?
Didn't like the way Maria was directed. She comes across flirty and Maria should be reserved and shy at first. She needs to evolve and I don't think she does in this production. This Maria wouldn't sing "I Feel Pretty." It is for a girl who has been protected and somewhat of a wallflower up until the dance and this Maria was no wallflower."
You do realize that 90% of the video footage is captured live, right? The only pre-filmed material are the slow motion outdoor shots. All of the interior book scenes are captured live.
And maybe that’s why they cut “I Feel Pretty”? To give Maria more confidence and a stronger place to start from. I loved how flirtatious and carefree she was. It was so refreshing.
ColorTheHours048 said: "Anshel2 said: "What do they do if there is an understudy? Have they filmed this vignettes multiple times to account for change in cast?
Didn't like the way Maria was directed. She comes across flirty and Maria should be reserved and shy at first. She needs to evolve and I don't think she does in this production. This Maria wouldn't sing "I Feel Pretty." It is for a girl who has been protected and somewhat of a wallflower up until the dance and this Maria was no wallflower."
You do realize that 90% of the video footage is captured live, right? The only pre-filmed material are the slow motion outdoor shots. All of the interior book scenes are captured live.
And maybe that’s why they cut “I Feel Pretty”? To give Maria more confidence and a stronger place to start from. I loved how flirtatious and carefree she was. It was so refreshing."
Caught this this week having never seen a production before. I absolutely loved it. It’ll divide everyone, and who knows what the critics will think. But as I see it, if you want to see a “traditional” WSS, watch the movie or go to any local high school. This is the reason theatre exists, and is the only way the art form moves forward.
The only element that didn’t work for me was the orchestrations. It felt very out of the world of the play to have this swelling orchestra playing 50s musical theatre. Wish they had gone the OK! route and totally reworked it.
The direction, choreo, and singing were the highlights for me. It all felt very raw and grounded while being a bombastic spectacle. As most will note, the biggest downfall of the night is the lovely singer playing Maria, who’s acting falls a bit short - especially with what Ivo asks of her in the finale.
I have very little interest in seeing a “full” production. The cut of the show had me on the edge of my seat the entire time, almost like I was watching a thriller. It was invigorating and breathed so much life into it. I know people think it takes liberties with the material too far but it didn’t effect me, and I don’t think people should take it personally. It’s a new point of view. You can not like it, but rejecting and throwing it out is the core of our problems today. Maybe Ivo making a WSS as divided as our country is today is exactly what he wanted - or what we needed.
Was just at tonight's show...LOVED IT. THE RUMBLE WAS EVERYTHING. On a sadder note, pretty sure Issac Powell seriously injured himself tonight. He looked like he was in pain and had to be helped off stage during bows. Curious to see if an understudy goes in tomorrow.
“ The only element that didn’t work for me was the orchestrations. It felt very out of the world of the play to have this swelling orchestra playing 50s musical theatre. Wish they had gone the OK! route and totally reworked it.”
Not for lack of trying - the Bernstein estate will not allow new orchestrations.
trpguyy said: "“ The only element that didn’t work for me was the orchestrations. It felt very out of the world of the play to have this swelling orchestra playing 50s musical theatre. Wish they had gone the OK! route and totally reworked it.”
Not for lack of trying - the Bernstein estate will not allow new orchestrations."
I'm sure it'll be seamless in the end, where it won't stand out that the orchestrations are old.
Interesting that the DanceNetwork article says they had planned to switch "Cool" and "Gee, Officer Krupke" but apparently they changed their minds (the songs are in their proper place here).
"What- and quit show business?" - the guy shoveling elephant shit at the circus.
joined:1/9/16
joined:
1/9/16
Posted: 12/20/19 at 11:49am