Making a welcome return, 2019 Handa Opera on Sydney Harbour hit West Side Story showcases a younger lead cast. Tightly drilled dance and wonderful music remain clear highlights.
Since the original 2019 presentation of West Side Story on Sydney Harbour, audiences have had the chance to see a national tour of West Side Story as well as the high profile West Side Story movie remake. You cannot have too much of good thing.
Written by the godly triumvirate of Arthur Laurents (book), Leonard Bernstein (music), and Stephen Sondheim (lyrics), the evergreen golden age musical is seen at its best in this confidently conceived production. With much of the action set on the streets, the outdoor staging is a natural fit. The enormous stage gives the high-energy dance plenty of room to breathe; when the stage teems with the full company the result is absolutely electric.
Internationally renowned director Francesca Zambello returns to work with a less experienced cast, highlighting the authenticity of the youth of the performers as a close match for the characters.
Played quite broadly, dialogue scenes and featured solo musical lines tend not to be at the high standard of the dance and music. In particular, classic charm song “America” suffers from this broad delivery (much as the fireworks at the song’s conclusion are fabulous). Individual performances will surely gain in depth and subtlety as the season progresses.
Any production of West Side Story stands in the shadow of the original direction and choreography of Jerome Robbins. From the very first crisp, sharp moves of “Prologue,” it is clear that the work of revival choreographer Kiira Schmidt Carper is first rate.
Ensemble dance is uniformly excellent, achieving a level of spectacle over and above what can usually be achieved in a proscenium arch theatre. The characterful atmosphere of dance (and fight) scenes is heightened by use of body microphones, which usually tend to be turned off during dance sequences.
After the terrific full company dance numbers of act one, the “Somewhere” ballet of act two is decidedly underwhelming, featuring only a very small selection of dancers. The costumes change to pale colours, but with only half a dozen dancers, the message that the whole community might mend their differences does not come across.
Musical director Guy Simpson leads a generous contingent from the Opera Australia Orchestra. As performed by 28 musicians, Bernstein’s venerated score sounds sumptuous, and company vocals are equally polished.
Even after 12 years of Handa Opera on Sydney Harbour, the miracle of balancing musicians and singers working outdoors remains a highly impressive feat. The talented revival sound designer is Jake Luther, working from the original sound design of Des O’Neill. Given that musicals are already performed with amplification, the form is more natural fit for the outdoor treatment than an actual opera.
Bringing Zambello’s cleverly conceived concept to life, set designer Brian Thomson strews the stage with seemingly abandoned subway carriages, the graffiti-covered set pieces bearing the logos of the shark and jets and scrawled names of the characters. The famous balcony scene has a soaring height, and the revolve to reveal Maria’s bedroom is very impressive.
On par with the standard of the sound, lighting designer John Rayment performs his own miracles, drawing the eye to tight points on the vast stage and flooding the space with light despite the absence of the usual indoor theatre lighting rigs.
Costume designer Jennifer Irwin creates a casual, lived-in feel. Distinctive use of colour means that all 3000 audience members can easily tell the Sharks (reds and yellows) from the Jets (blues and greens).
Making a highly auspicious professional musical theatre debut, opera singer Nina Korbe plays Maria with a calm and centred presence. A pleasure to hear, Korbe’s vocals are rich and warm, affectingly conveying the myriad passions experienced by the headstrong young woman.
In this version, Maria sings “Somewhere” and this is a memorable highlight of Korbe’s performance.
Billy Bourchier has an easy charm as Tony, singing the challenging role with flair. Bourchier’s bright tenor voice sings perfectly into the centre of each ringing note. Bourchier enjoys natural chemistry with Korbe, their voices blending beautifully in exquisite duet “One Hand, One Heart.”
Talented performer Kimberley Hodgson is somewhat miscast as Anita. Being shorter than Korbe and wearing her hair in a long thick ponytail, Hodgson’s Anita appears younger than Maria, unbalancing and undermining the dynamics of this key relationship.
Making his Australian debut, highly experienced American artist Manuel Stark Santos is utterly compelling as Bernardo. Stark Santos commands the stage with understated flair, portraying Bernardo as a natural leader and creating sparks of chemistry with every acting partner, male or female.
Playing amidst a talented troupe as the Jets, Patrick Whitbread struggles to stand out to any significant extent as Riff. It does not help that Whitbread is completely outshone by Luke Jarvis, who gives a sensational breakout performance as Action. With his powerful acting supported by the appearance of his bushy blonde ponytail and imposing physique, Jarvis makes Action the one to watch at all times.
Scott Irwin returns as hard-bitten Lieutenant Schrank, bringing heft to the key role by not flinching from the unpleasant aspects of the racist bully. Wayne Scott Kermond brings the weary weight of the world to Doc, imbuing Doc’s pleas for peace and sanity with affecting pathos.
The young cast is sure to grow and thrive as the season of West Side Story on Sydney Harbour continues. Paired with the overall experience of attending the lavishly designed outdoor venue, the entertaining spectacle is hard to beat.
West Side Story plays at Fleet Steps, Mrs Macquaries Point, Sydney until 21 April 2024. For tickets, click here.
Photos: Keith Saunders