Review: WEST SIDE STORY at LA Opera

While Spielberg’s movie remake and Ivo van Hove’s recent Broadway revival of West Side Story seem to mine the libretto for grittiness and machismo, Francesca Zambello’s production— originally co-produced by Lyric Opera of Chicago, Houston Grand Opera, and Glimmerglass Festival and currently opening LA Opera’s 40th season— seems equally concerned with preserving the distinctive artistic vision which has cemented the piece as a crown jewel in the American theatre canon as with interpreting the characters in a dynamic way for contemporary audiences. When the iconic ‘Prologue’ begins to simmer, the gang of Jets loitering about the stage in Jessica Jahn’s contemporary streetwear, bedecked in tattoos and bomber jackets may immediately perturb any purists in the audience. However, hearing Bernstein’s score played by the LA Opera Orchestra (bolstered opening night by an additional 8 musicians in the string section) under James Conlon’s fervid baton while Jerome Robbins’ original choreography (reproduced by Joshua Bergasse) mesmerically pulsates on stage, somehow preserves this West Side as a quasi-religious experience and worthwhile pilgrimage for any fans. The updated setting successfully humanizes these iconic characters, allowing audiences to feel the devastating consequences of hormonal angst bubbling under learned hatreds.

Duke Kim’s interpretation of Tony is clean and simple. He brings the lovestruck delivery boy to life with natural charm and unrelenting charisma. His ‘Something’s Coming’ is met with thunderous applause, earned only partly by the expanded strings section I’m sure. As one of the few international members of the cast, it was a rare treat to hear Kim’s ‘Maria’— a song about the phonetics of a name with repeated lyrics, “Maria, Maria, Maria, Maria.” Kim’s rendition fills every syllable of the recurring name with nuance that may not be as readily accessible for singers exclusively familiar with the English language. When we meet Gabriella Reyes’ Maria, she is every bit the innocent teenage girl preparing for her first dance. All the more heart-wrenching, then, to hear her expressive soprano voice journey through the resonance of ‘Tonight’, the giddiness of ‘I Feel Pretty’, and eventually the earthy, guttural plight of ‘I Have a Love’. Reyes is perfectly matched to Maria’s arch, and as the two lovers, she and Kim are delightfully adorable in their naivety and resolutely successful in helming this hallowed score.

Fortunately, the rest of the cast carries the show with unquestionable artistry. Amanda Castro’s Anita is a perfect performance for bringing West Side to the 21st century— she never defaults to an imitation of Chita Rivera or Rita Moreno, and every leap, kick, and syllable is punched with sharp wittiness and uninhibited strength. When Anita is attacked by the Jets, the violence lands with palpable discomfort from the audience, thanks in part to Castro’s incredibly human portrayal. P. Tucker Worley, who generally plays A-Rab but went on as Riff opening night, is a magnetic presence among the dancing ensemble. Amidst the incredibly polished cast, Worley stands out with a suave confidence and comfort within the choreography. It is almost as though he and Robbins’ naturally communicate with the same physical language— he belongs doing these dances.

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