Cabaret Scenes Theatre Review

West Side Story, with its faults, we still love it—dynamic dances and commanding score creating a romantic aura against the gritty reality of Manhattan's mean streets.

But–there is a "but." With any lovers, the romance must either sizzle or fizzle. Here, it fizzles. The chemistry is just not there for the star-crossed lovers from battling gangs, Maria (Argentinean newcomer, Josefina Scaglione) and Tony (Matt Cavenaugh), both good-looking, talented vocalists, and Cavenaugh's tenor rendition of the meandering "Maria" is heartfelt. But the chemistry? Nada.

Scaglione exhibits a sheltered Catholic girl, naïve yet with a hint of street savvy. Cavenaugh, however, imparts no bad-boy machismo as one-time leader of the pack.

Actually, except for Action (Curtis Holbrook), the wiry Bernardo (George Akram) of the Sharks, and the Jets' intense Riff (Cody Green), the gang members are hardly threatening. Until they dance, flashing their knives and guns, the danger level is low-key.

Fortunately, the show has Karen Oliva. As Anita, Oliva is eye-catching even in the most dizzying dances, with skirts flashing and boundless energy. Not even the spectacular boys with high-soaring leaps, flying arms and rhythmic musicality can diminish Anita's fire. "America" triumphs in her saucy back-and-forth with the girlfriends. She is unrelenting in her message warning starry-eyed Maria about "Un Hombre Asi" ("A Boy Like That").

Jerome Robbins' original dazzling choreography is secure in the hands of Joey McKneely. Like the Leonard Bernstein/Stephen Sondheim songs, Robbins' dances speak for the characters and the story. The "Dance at the Gym" crackles with tension.

Sondheim said he used to laugh at the saccharine words of "One Hand, One Heart," while Bernstein loved its beauty. "Somewhere," sung by Kiddo (Nicholas Barasch), refreshes its universality. Maria is all youthful anticipation with "Siento Hermosa" ("I Feel Pretty") and cool is just the right word for the Jets' gloating "Cool." "Gee, Officer Krupke!" has a new mean-spirited sarcasm.

Librettist/director, Arthur Laurents took the reins in this production, with Lin-Manual Miranda (In the Heights) translating some dialogue and lyrics into Spanish. While controversial, this works fine, effectively delineating the two ethnic gangs.

James Youmans' grey steel urban setting and Howell Binkley's lighting is darkly effective. David C. Woolard's costumes are colorful, but in the '50s, even figure skaters' skirts were not so hip-skimming.

Too bad about the chemistry thing, but even that miscasting cannot dim West Side Story's caliente music, dancing, and Patrick Vaccariello's rich orchestra.

(Pictured Karen Oliva and George Akram. Photo by Joan Marcus)

Elizabeth Ahlfors
Cabaret Scenes
March 31, 2009
www.cabaretscenes.org



	West Side Story Palace Theatre New York, NY
West Side Story, with its faults, we still love it—dynamic dances and commanding score creating a romantic aura against the gritty reality of Manhattan's mean streets. But–there is a "but." With any lovers, the romance must either sizzle or fizzle. Here, it fizzles. The chemistry is just not there for the star-crossed lovers from battling gangs, Maria (Argentinean newcomer, Josefina Scaglione) and Tony (Matt Cavenaugh), both good-looking, talented vocalists, and Cavenaugh's tenor rendition of the meandering "Maria" is heartfelt. But the chemistry? Nada. Scaglione exhibits a sheltered Catholic girl, naïve yet with a hint of street savvy. Cavenaugh, however, imparts no bad-boy machismo as one-time leader of the pack. Actually, except for Action (Curtis Holbrook), the wiry Bernardo (George Akram) of the Sharks, and the Jets' intense Riff (Cody Green), the gang members are hardly threatening. Until they dance, flashing their knives and guns, the danger level is low-key. Fortunately, the show has Karen Oliva. As Anita, Oliva is eye-catching even in the most dizzying dances, with skirts flashing and boundless energy. Not even the spectacular boys with high-soaring leaps, flying arms and rhythmic musicality can diminish Anita's fire. "America" triumphs in her saucy back-and-forth with the girlfriends. She is unrelenting in her message warning starry-eyed Maria about "Un Hombre Asi" ("A Boy Like That"). Jerome Robbins' original dazzling choreography is secure in the hands of Joey McKneely. Like the Leonard Bernstein/Stephen Sondheim songs, Robbins' dances speak for the characters and the story. The "Dance at the Gym" crackles with tension. Sondheim said he used to laugh at the saccharine words of "One Hand, One Heart," while Bernstein loved its beauty. "Somewhere," sung by Kiddo (Nicholas Barasch), refreshes its universality. Maria is all youthful anticipation with "Siento Hermosa" ("I Feel Pretty") and cool is just the right word for the Jets' gloating "Cool." "Gee, Officer Krupke!" has a new mean-spirited sarcasm. Librettist/director, Arthur Laurents took the reins in this production, with Lin-Manual Miranda (In the Heights) translating some dialogue and lyrics into Spanish. While controversial, this works fine, effectively delineating the two ethnic gangs. James Youmans' grey steel urban setting and Howell Binkley's lighting is darkly effective. David C. Woolard's costumes are colorful, but in the '50s, even figure skaters' skirts were not so hip-skimming. Too bad about the chemistry thing, but even that miscasting cannot dim West Side Story's caliente music, dancing, and Patrick Vaccariello's rich orchestra. (Pictured Karen Oliva and George Akram. Photo by Joan Marcus) Elizabeth Ahlfors Cabaret Scenes March 31, 2009 www.cabaretscenes.org

West Side Story

Palace Theatre New York, NY

Palace Theatre
New York, NY