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Posts Tagged ‘Jerome Robbins’

It’s almost forty years since I first saw this show, in a Broadway revival, and it’s been in my top five musicals ever since, so I was excited to see what this new production by Nikolai Foster, without Jerome Robbins’ iconic choreography, would be like. The answer is ‘thrilling’.

The story is as timeless as the Shakespeare play on which it’s based, but it seems to resonate more in the UK today, given our struggle with gang culture and knife crime. Even though the setting and period, book and lyrics, remain unchanged, it has a contemporary feel and edgy aesthetic, Ellen Kane’s new choreography contributing greatly to this, which makes it feel very fresh. The design team of Michael Taylor (set), Edd Lindley (costumes) and Guy Hoare (lighting) have respected the period whilst somehow making it feel like now. A luxury fifteen piece band under MD George Dyer do full justice to Bernstein’s brilliant score.

It’s been a great pleasure watching Jamie Muscato grow into such a fine performer and here he is owning one of musical theatre’s great roles, with breathtaking renditions of Something’s Coming, Tonight and Maria. Maria is superbly played and sung by Puerto Rican Adriana Ivelisse, here to study musical theatre at the Royal Academy of Music, but looking like she doesn’t need to (note to self – RAM student productions in 2020!). Carly Mercedes Dyer is a terrific Anita, leading America with Abigail Climer’s Conesuela and Mireia Mambo’s Rosalia, who both also stand out in I Feel Pretty. Then there’s another fifteen in this superb cast, enhanced by a ‘young company’ of local trainees, who fill the stage, most notably during a rousing, moving Somewhere.

The Curve has been working with the police and the local community on the issues covered in the show (how often do you get a programme note by the Chief Constable?!) which underlines the ongoing relevance of this sixty-year-old show, here feeling like its brand new. Thrilling.

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It was touch and go at the Open Air Theatre on Tuesday, with the rain continuing until minutes before the start, but apart from a short break to mop the stage it went ahead, and the warmth from the stage just about made up for the chill in the air. OAT continues it’s pre-eminence in musicals revivals with this wonderful production of Bernstein’s rarely performed musical comedy, which I’ve only seen in ENO’s 2005 production, and we all know opera companies rarely do musicals well because they are, well, opera companies.

Three sailors arrive in New York on 24 hours leave, determined to make the most of it. Chip wants to see the sights, but Gabey and Ozzie prefer more hedonistic options. Gabey falls in love with a poster girl on the subway and they set about finding her, splitting up to visit the locations mentioned in the poster. Chip finds Hildy who’s just been fired from her job as a taxi driver and Ozzie finds anthropologist Claire in the Natural History Museum, and eventually Gabey finds his poster girl Ivy at Carnegie Hall. They all plan to meet for a date, but Gabey is stood up by Ivy. He eventually learns where she is from her music teacher and sets off for Coney Island to find her, whilst the others go on a bar crawl that gets seedier as they go.

Betty Comden & Adolf Green’s book and lyrics are much funnier than I remember and Bernstein’s score is better than I remember too, proving to be much more than its most famous songs New York, New York (not THAT one) and Some Other Time, and there’s a fantastic 15-piece band under MD Tom Deering to do it full justice. Drew McOnie’s hugely successful transition from Choreographer to Director / Choreographer continues and his staging of this is thrilling, with the balletic dancing so true to Jerome Robbins simply sensational. Peter McKintosh has designed a three-story set inspired by the opening and closing scenes at the dockyard which transforms into streets, subway trains, taxi, museum, apartment and nightclubs, with gorgeous bright and colourful costumes. When we get to Coney Island, the transformation takes your breath away.

Danny Mac, who plays Gabey, doesn’t have a strong voice, but it has a nice tone, he’s a good actor and his dancing is outstanding. Samuel Edwards is a great Ozzie and Lizzy Connelly a superb Hildy. Jacob Maynard has taken over the role of Chip after Fred Haig’s accident, and I thought he was terrific. Then there are two extraordinary professional debuts from Siena Kelly as Ivy and Miriam-Teak Lee as Claire – wow! The whole ensemble is wonderful and contributes much to an exciting, uplifting evening.

Not the best conditions for an evening at the OAT, but one of the best shows I’ve seen there. Go!

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