West Side Story Doesn't Get Lost in Translation
In West Side Story at the National Theater, a bilingual production is hardly a language barrier.
In fact, the directorial choice of Arthur Laurents to set some of the dialogue and a number of the musical numbers performed by the Sharks (the Puerto Rican contingent of the two warring gangs) and their women in Spanish, is easily the most innovative and powerful aspect of this Broadway-bound production. The show is getting an early debut as its first home, the National, before heading to NYC, with the 90-year-old original author of the work at the helm.
The change adds a voyeuristic quality to West Side Story – moments between the actors seem more intimate, but unless you're fluent in Spanish, you're eavesdropping without complete understanding. It also adds a hefty dose of reality to a show that, after all, features pirouetting gang members. The emotional impact of the songs is foremost – "I Feel Pretty" (now "Siento Hermosa") is chattering and boisterous, "And A Boy Like That/I Have a Love" swells through anger, determined love and acceptance. Those unfamiliar with the original lyrics, though, will miss some nuances in the latter – namely, how far Anita truly has to come to reach a place of understanding and empathy amidst her own loss.
It's hard to imagine a West Side story without Jerome Robbins' groundbreaking and exhilarating choreography – seeing the Jets leap into formation during the opening number is as quintessential a West Side Story moment as any, and Joey McKneely has nimbly reproduced those scenes, with the dancers delivering a particularly zesty "America" and a rousing "Mambo!" But because these movements are so familiar, it can be hard at times for this production to separate itself from any strong touring incarnation – with this show being Broadway-bound, a bit more risk-taking wouldn't have been entirely unexpected. The production does shine, however, with its sets, particularly a looming highway bridge which sets the stage for the fatal rumble.
Soulful actors here embody the parts of truly iconic characters like Maria and Tony. Matt Cavenaugh's Tony, to be sure, is a bit more dorky, a little more doofy – but entirely appealing. His vocals on the epic "Maria" and "Somewhere" are rich and warm, and he's got a self-awareness that's a little unusual (and welcome) for the part. He's matched vocally by the vibrant Josefina Scaglione as Maria, impish but innocent and particularly affecting during the show's Spanish passages. Anita is always the piece's showstopping character, and Karen Olivia picks up the mantle with flair, her husky voice a fine fit for the part.
Our Sharks and our Jets have been cast very young, and it seems, primarily, for their dancing ability, which is beyond reproach. The acting, however, does not reach quite the same level. The youth of the actors perhaps overemphasizes the dated slang of the work (though really, how could one rewrite a classic like "Cool" without the "boys" and the "cooly cools" and the "easy does its"?), but the frequently wooden and one-dimensional delivery doesn't help matters, either. The show also suffers from some sluggish pacing during musical numbers. But regardless of these issues, it's a pleasure to know that a wide audience will now be able to rediscover a classic – now grounded in a touch more authenticity.
West Side Story runs through Jan. 17 at the National Theater, and is slated for a March Broadway run. Tickets are available online.