West Side Story: 50 years old, and still going strong
Sunday News (Lancaster, PA)
by MaryAlice Bitts
The 1957 premiere of "West Side Story" at the Winter Garden Theater on Broadway was nothing short of electrifying. Infused with wild rhythms, soaring orchestration, street-inspired choreography and a passionate, universal theme, the show seemed cutting-edge to its midcentury audience, which responded with a rousing ovation.
Fifty years later, Fulton Opera House is celebrating the anniversary of that premiere in a big way, presenting the show with its original choreography and backed by Lancaster Symphony Orchestra.
"We're all very excited about it," said Fulton artistic director Michael D. Mitchell. "This is the first time we've been able to partner with the symphony orchestra in this way. The opportunity to see this musical with full orchestra is a rare treat."
"West Side Story" originated in 1949, when Jerome Robbins approached Leonard Bernstein about an idea he had for an Easter holiday musical. Based on the Shakespeare classic "Romeo and Juliet," the show would highlight conflicts between Catholics and Jews in New York's East Side neighborhoods. The working title was "East Side Story."
Gradually, the collaborators shifted their focus from religious disharmony among East Side immigrants to racial tension and gang violence in New York's West Side. With the contributions of librettist Arthur Laurents and a young Stephen Sondheim, who was brought in to jazz up Bernstein's lyrics, "West Side Story" redefined American musical theater.
One of the musical's trademark features is Bernstein's majestic, challenging score, which generated such beloved hits as "Somewhere," "Tonight" and "Maria." Bernstein developed the score's infectious mixture of classical, jazz and pop on the sweeping scale to which he was accustomed as a symphonic composer and conductor.
Modern-day performances typically scale back the full orchestration for a bare-bones pit orchestra because employing a full orchestra is a prohibitive expense. A private donor has covered that expense for the Fulton production. Lancaster Symphony Orchestra will perform with a full complement of players, and the Fulton has removed the orchestra pit cover to show them off.
Actor Ellyn Marsh, who plays Anita in the production, said the orchestra is a "show within a show" and is well worth the added trouble and expense.
"This is the most beautiful musical score in American theater," said Marsh, who has played the role of Anita in four productions of the show. "Even on your most tired day, when you slink into the theater, the moment you hear that music, you're in another world. People pay good money just to hear orchestras perform it by themselves.
"When you add the orchestra [to a live performance of the show], you have this wave of music pouring over the stage. It energizes the actors, and the audience can feel it, too. I'm getting all excited, just talking about it!"
To complement that musical backdrop, choreographer Joshua Bergasse has recreated the choreography Jerome Robbins conceived for the original production.
"When I watch this show in rehearsal, I wonder why anybody would do anything but this choreography because it's so perfectly suited to Bernstein's music," Mitchell said. "There's a wonderful level of excitement."
"West Side Story" focuses on racial disharmony between Latino and white ethnic groups, and the Fulton production happens to coincide with Lancaster's 28th annual Puerto Rican Festival and parade. To honor the celebration, the show's cast has been invited to dance at the Puerto Rican Cultural Center on the evening of the parade. The Fulton also will host a Spanish-interpreted performance Friday, Sept. 14, during which Spanish speakers can listen to the show in their native language via headset.
"We think it's a good opportunity to reach out to some people in our community who might not otherwise get to see this show," Mitchell said.
The reason the show has endured, Mitchell said, is because it continues to translate well across cultures.
"It's a classic Shakespearean story that everyone can relate to or understand," he said. "You pick up the paper, and you read about the same kind of struggles today. The stories of our lives haven't changed."
by MaryAlice Bitts
The 1957 premiere of "West Side Story" at the Winter Garden Theater on Broadway was nothing short of electrifying. Infused with wild rhythms, soaring orchestration, street-inspired choreography and a passionate, universal theme, the show seemed cutting-edge to its midcentury audience, which responded with a rousing ovation.
Fifty years later, Fulton Opera House is celebrating the anniversary of that premiere in a big way, presenting the show with its original choreography and backed by Lancaster Symphony Orchestra.
"We're all very excited about it," said Fulton artistic director Michael D. Mitchell. "This is the first time we've been able to partner with the symphony orchestra in this way. The opportunity to see this musical with full orchestra is a rare treat."
"West Side Story" originated in 1949, when Jerome Robbins approached Leonard Bernstein about an idea he had for an Easter holiday musical. Based on the Shakespeare classic "Romeo and Juliet," the show would highlight conflicts between Catholics and Jews in New York's East Side neighborhoods. The working title was "East Side Story."
Gradually, the collaborators shifted their focus from religious disharmony among East Side immigrants to racial tension and gang violence in New York's West Side. With the contributions of librettist Arthur Laurents and a young Stephen Sondheim, who was brought in to jazz up Bernstein's lyrics, "West Side Story" redefined American musical theater.
One of the musical's trademark features is Bernstein's majestic, challenging score, which generated such beloved hits as "Somewhere," "Tonight" and "Maria." Bernstein developed the score's infectious mixture of classical, jazz and pop on the sweeping scale to which he was accustomed as a symphonic composer and conductor.
Modern-day performances typically scale back the full orchestration for a bare-bones pit orchestra because employing a full orchestra is a prohibitive expense. A private donor has covered that expense for the Fulton production. Lancaster Symphony Orchestra will perform with a full complement of players, and the Fulton has removed the orchestra pit cover to show them off.
Actor Ellyn Marsh, who plays Anita in the production, said the orchestra is a "show within a show" and is well worth the added trouble and expense.
"This is the most beautiful musical score in American theater," said Marsh, who has played the role of Anita in four productions of the show. "Even on your most tired day, when you slink into the theater, the moment you hear that music, you're in another world. People pay good money just to hear orchestras perform it by themselves.
"When you add the orchestra [to a live performance of the show], you have this wave of music pouring over the stage. It energizes the actors, and the audience can feel it, too. I'm getting all excited, just talking about it!"
To complement that musical backdrop, choreographer Joshua Bergasse has recreated the choreography Jerome Robbins conceived for the original production.
"When I watch this show in rehearsal, I wonder why anybody would do anything but this choreography because it's so perfectly suited to Bernstein's music," Mitchell said. "There's a wonderful level of excitement."
"West Side Story" focuses on racial disharmony between Latino and white ethnic groups, and the Fulton production happens to coincide with Lancaster's 28th annual Puerto Rican Festival and parade. To honor the celebration, the show's cast has been invited to dance at the Puerto Rican Cultural Center on the evening of the parade. The Fulton also will host a Spanish-interpreted performance Friday, Sept. 14, during which Spanish speakers can listen to the show in their native language via headset.
"We think it's a good opportunity to reach out to some people in our community who might not otherwise get to see this show," Mitchell said.
The reason the show has endured, Mitchell said, is because it continues to translate well across cultures.
"It's a classic Shakespearean story that everyone can relate to or understand," he said. "You pick up the paper, and you read about the same kind of struggles today. The stories of our lives haven't changed."
Labels: jerome robbins, leonard bernstein, mary alice bitts, MaryAlice Bitts, musicals, west side story
posted by MaryAlice Bitts at 2:39 PM
