More than fifty years ago, a show about New York City changed musical theatre forever. Now, it's coming home to make history once again. This spring, WEST SIDE STORY returns to Broadway in a groundbreaking new production directed by its legendary librettist, Tony Award® winner Arthur Laurents.
From the first notes to the final breath, WEST SIDE STORY is one of the most memorable musicals and greatest love stories of all time. Mr. Laurents' book remains as powerful, poignant and timely as ever. The score by Leonard Bernstein and Stephen Sondheim -- a collection of standards that includes "Tonight," "America," "Maria," "I Feel Pretty" and "Somewhere" -- is widely regarded as one of the best ever written. And the extraordinary, Tony-winning winning choreography by Jerome Robbins completely changed the language of Broadway dance. This production will offer a bold new design that builds on the show's raw power and emotion to create a fresh experience unlike any that came before it.
Don't miss this thrilling presentation of a matchless work of art.
The idea that a musical as brilliant as 'West Side Story' would require reinventing seems a bit dubious, and the doubts are confirmed by the new Broadway revival. Reconceived and staged by its original book writer Arthur Laurents to achieve a new level of grittiness, this production features a lot of tweaks -- most notably the use of Spanish for two of the songs and some of the dialogue -- that don't add appreciably to its impact. And unlike the 91-year-old Laurents' recent smash revival of 'Gypsy,' this production is further undercut by some significant deficiencies in the staging and performances.
It's tempting to reward this uneven but enjoyable revival — helmed by 91-year-old Laurents himself — solely for the bilingual innovation. But for 52 years, the Jets have had the upper hand over their Spanish-speaking rivals, the Sharks, in this musical retelling of Romeo and Juliet set among mid-'50s Manhattan street gangs. The Jets have more lines and more scenes; they get three songs of their own — one which exists solely to establish their superiority ('When you're a Jet you're the top cat in town'). They even had their own language: 'Daddy-O,' 'Cracko-jacko,' 'Buddy boy.' Now, Laurents and Miranda have leveled the playing field; by translating a few key scenes — our first encounter with Maria and Anita (the sensational Karen Olivo) in the bridal shop, the pre-'America' banter between the Puerto Rican guys and their girls — the Sharks have more presence. By letting them sing in Spanish, they reclaim their own language as well.
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