‘West Side Story’

Press, 16 July 1983, Page 8

‘West Side Story’

“West Side Story,” presented by the Christchurch Operatic Society, directed and choreographed by Robert Young, conducted by Gerald Oliver at the Theatre Royal, July IS to 30, 8 p.m. to 10.20 p.m. Reviewed by Philip Norman.

Gone is the usual sweetness, the ageing fantasy, the smiles and the pretty pictures: the Christchurch Operatic Society’s latest production presents moments of extraordinary power and extreme tension. Their “West Side Story” has got to be one of their most successful ventures in recent times.

To be sure, much of the impact comes from Bernstein’s hard-hitting score and from the searing passion of the latter-day Romeo and Juliet story; however, the local company add much to the production in their working of the firstrate material.

a, The dance sequences, Robert Young’s , forte as director, were delivered « with an energy-and-preci--• that made for

viewing. The “Gee Officer Krupke,” "Play it cool boy” and the dance in the “Gym” sequences were particularly effective. The lighting, designed by Joe Hayes, was a real strength for the show. The “Under the Highway” scene was especially striking for the claustrophobic effect the simply conceived lighting achieved. Partnered with this were cleverly designed sets by Brian Brodie. The two main characters, Angela Johnson as Maria, and Peter Hewson as Tony, were well cast and gave strong, all-round performances. Peter Hewson’s singing was the finest in the show, being both strong in tone and clear in diction. Angela Johnson was most effective on characterisation, and moved with grace. Together, in songs such as “Tonight,” the pair established a rare bond of communication that was most moving.

Able’ support was given by Philip Rowe as leader of the Jets, Patricia Love as the-fiery-Ahita, and Nicholas, Mcßryde as leader of

the Sharks. Many of the little cameos played by members of the chorus were also well done. However, balanced against these impressive strengths of the show were some terrible weaknesses. The thicker the American accents became, the more audibility suffered. It would not be an exaggeration to say the majority of the dialogue lines, not to mention the song lyrics, were lost. The stylised fight scenes lacked punch and conviction, and much of the chorus music, admittedly during passages of tricky rhythm, lacked any definition of pulse.

Another bone of contention was the use of prerecorded music for most of the dances. With the exception of one ever-loud trumpet, the orchestra did an admirable job with Bernstein’s fiendish score. It was a pity they were not given the opportunity to tackle all the music.

Nevertheless, this unevenness aside, the production as a whole was excellent — a credit to the youthful cast, and well worth seeing.