Theatre
PREVIEW MUSICAL WEST SIDE STORY Theatre Royal, Glasgow, Tue 11—Sat 29 November
From Charles-Francois Gounod’s 19th century opera to Baz Lurhmann’s gun-toting 1996 film, there’s been no shortage of momentous adaptations of Shakespeare’s love epic. But of all the play’s modern reworkings, West Side Story continues to be one of the most memorable. Writer Arthur Laurents transformed Fair Verona into the poverty-stricken backstreets of Manhattan’s West Side in the mid-19505, where the Jets, a ragtag bunch of white Americans forgotten by society, fight against the Sharks, Puerto Rican immigrants struggling to make a living in the New World. And the star-cross’d lovers? Enter Tony and Maria, one of musical theatre’s best- loved couples, played in the 1961 film by Richard Beymer and Natalie Wood.
Punctuated by Jerome Robbins’ mesmerising choreography, and Leonard Bernstein and Stephen Sondheim’s unforgettable music, West Side Story’s blistering depiction of American racism and fierce gang rivalry shook the foundations of Broadway in 1957 and London’s West End in 1958. Fifty years on, Joey
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McKneeley’s new production is enjoying a critically acclaimed, near-sold out anniversary tour of the UK. Daniel Koek, currently playing the ill-fated Tony, is enthusiastic about the enduring power of the musical: ‘It’s a timeless love story - everyone can relate to that,’ he says. ‘But it’s also a tragedy, and lots of people find that mysterious and morbidly fascinating. Together with Bernstein and Sondheim’s music, those elements make the musical stunning.’
Koek, a classically trained performer who has even released his own album to coincide with the tour, has been praised for his renditions of classic West Side Story numbers, including ‘Maria’, ‘Somewhere’ and ‘Tonight’, his personal favourite. But is he confident that the musical will continue to shine in the 21st century? ‘Just look at the West End today - things come and go in the space of months, that’s a very indicative factor of what makes a good musical. West Side Story has stood the test of time: everything about it - be it music or choreography - has flourished in this particular production. But maybe in another 50 years time, we should ask ourselves the question again.’ (Yasmin Sulaiman)
REVIEW Cl AsSic MARY ROSE
REVIEW MODERN CLASSIC MARAT/SADE
Seen at Tramway, Glasgow. Assembly Rooms, Edinburgh, Thu 13-Sat 15 Nov 0
Call it a testament to the human spirit or the will to triumph in the face of adversity. but for some reason. after the interval. the audience comes back. Perhaps. they are thinking. it is a mistake to imagine the acting is terrible. Maybe. they hope. the observation in the programme that the play has ‘clear arguments will prove correct (as surely it must v-rith a drama of this pedigree). With a little luck. they speCulate. those awkward longueurs where everyone stands around in betwe 3n scenes WI“ turn out to be a blip and the show will no longer feel as if it's going to last forever.
Well, all praise the optimism of the will but. alas. no praise for Robert Rae's excruciating production for Theatre Workshop of Peter Weiss's 1964 play (full title: The Persecution and Assassrnatron of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade). Despite its discussion of the radical energy of the French Revolution. the overlaying of imagery from the ferment of 1968. and a company all too familiar with democracy's failure to give a voice to the disabled. the production is bereft of meaning political or othenvise. :f the cast understand the material they fail to communicate it.
For a company on the cusp of losing its Arts CounCil grant. this self— indulgent show feels like a suicide note. (Mark Fisheri
Royal Lyceum Theatre, Edinburgh, until Sat 15 Nov 000
Fans of Lost will be familiar with the supernz‘iturai powers a seen‘irgiy deserted island can possess. However. it seems the US TV shows creator JJ Abrams had an unlikely forerunner -— Scottish playwright JM Barrae. While Barrie is more coir‘inont'. associated with the giant of his plentiful corpus. Peter Pan :n .’~./iari. Rose. his exploration of the pains of growing up is as chillineg pctent as ever.
When she marries at 18. Mary Rose seems permanently stuck :n a state of pie adolescence. a duality her parents believe the consequence of her l“\f§!(}l'|()tit5 ’x‘il day disappearance on a remote Hebridean island during a childhood holiday The
unsettling atmosphere this creates between her parents and husband 8"“(1'1 s captured in tony Cownie's production. not least due to Malcoln: Rippeth's ee'e lighting and Neil Murray's versatile set design. There are E;()lt‘(} standoa‘. performances too: Perri Snowdon is captivating as Mary Roses at first ;(>\.;al ftft?" grief stricken husband. while Robin taing excels as sensitive (slander Mr Carrie'di‘.
Yet. for a play that's a little over two hours long, some elements drag. Mai", Rose's second kidnap. for instance. is durckly anticipated and the iei‘gti'ty. ser‘tiinenta' banter that takes place between ner and Simon ~ meant to ditve borne the tragedy of lilO‘l separation — becomes irritating rather than touching. And. ‘.‘."llii(} the ex.:.iisite dramatic timing means Mary Rose's all-pervading ghostly presence never oxershadows the intrinsically comic elements of the play. it‘s unlikely to stir Lil) a for‘g overdue reVival of Barnes lesser-known works. (Yasmin Sulaimani