West Side Story

Inspired by Shakespeare’s Romeo and Juliet, this musical was conceived by Jerome Robbins with Music by Leonard Bernstein, Lyrics by Stephen Sondheim and a book by Arthur Laurents. As with Romeo & Juliet, the love between members of two rival groups leads to violent confrontation and a tragic ending with the underlying message that violence breeds violence, so make peace and learn to share. One of the most popular shows of all time, this was a great choice to revive UOC after the enforced break of Covid, in the beautifully refurbished Grand Opera House.

A good working set by Scenic Projects was well managed by Stage Manager Andrew McKnight. In-sets were speedily moved in front of the main set and Props were all authentic. Of course, it helps to have flying facilities! Lighting was excellent – covering changes and using some lovely effects. Sound was difficult – I missed a lot of dialogue but the different accents for the piece may have been partly to blame. Costumes by Triple C were suitable and the ladies very colourful.

The prologue began in a novel way featuring 12 young boys dressed in white, representing the present day Jets and Sharks gangs, who played football against each other and held playfights without violence. The Prologue then burst into a feast of colour and electrifying dance patterns to introduce the story to come. Jet Song brought the local NYC West Siders to the fore and showed the differing characterisations of its white members. Played by Matthew Watson, Riff was the gang leader – a good dancer and singer. He was very much in charge – particularly when he managed the Jets’ pent-up aggression with the Cool number. His mates were Adam Quinn as A-rab, Aaron Butler as Action, Aodhan Halfpenny as Baby John, Joshua Martin as Diesel, Charlie McCready as Big Deal and Rhys Devlin as Snowboy (with appropriate white-blonde hair) as well as Reuben Reilly as Mouthpiece, Robbie McMinn as Gee-tar and Connall Fynes as Tiger.– each had a chance to establish their character and all those in the comedy number Gee, Officer Krupke had a great time! Girls attached to the Jets were Velma (Riff’s girlfriend) played by Niamh Doherty, Graziella by Marie Claire O’Connor, Debs by Demi Weir and Mary Rose by Emma Carnduff. Other Jets girls were Jasmine Gray as Kath, Kelly Milliken as Karen, Kerry McCreight as Babs, Rachel Donnelly as Rebecca, Stephanie McMaster as Susie and Lucie Snowdon as Linda – every one a great dancer. Sarah Close-Ledgewood was Anybodys who kept a low profile but her dialogue was high pitched and a little difficult to decipher.

The Sharks gang, made up of Puerto Ricans, was led by Patrick D’Arcy as Bernardo. He also had good dancing and singing skills and portrayed the fiercely possessive Puerto Rican convincingly – keen to fight the Jets to take their ‘ownership’ of the area from them. Best friend Chino (Eoin Hannaway) has been offered Bernardo’s sister in an arranged marriage and he, together with the rest of the Sharks, wants to beat the Jets in a “rumble”. Will Jordan (Pepe), Aaron Bell (Toro), Lewis Atchison (Luis), Callam Ritchie (Juano), Paddy Heaney (Indio), Conn Murnin (Gabriel) and Partick Glover (Richardo)  completed the Puerto Rican gang and, like those in the Jets, established individual characteristics as the story

progressed. Sharks girlfriends were Lauren Toner (Consuelo), Helena Hendron (Francisca), Lauren McCormick (Teresita), Cherelle Hinds (Carmen), Conliane Devlin (Constanza), Evanna Maxted (Elena), 

Eve Twomey (Evita) and Leah Henderson (Lorena). Alice Johnston as Barnardo’s girlfriend Rosalia and Karen Hawthorne as Anita led the hugely enjoyable America where the Shark girls compare the territory of Puerto Rico and the USA. Karen was impressive in the shocking rape scene. 

In the drugstore, which was treated as (mutual) ground Doc, played by Paddy McNally, was a steadying influence to those on both sides while Richard Gaston – back on stage after 15 years – played Glad Hand in his own inimitable and camp way! In charge of law & order were David Gray, Andrew Devonshire and Gareth Maxwell as Lt.Schrank, Officer Krupke and O’Leary. With most of the dialogue, David was the old and disillusioned cop expected of the role.

I leave the two main protagonists till last as they were definitely “stars”. Matthew Quinn’s tenor voice was very good as Tony and he portrayed the young lover well – as I expected from a young man of his experience. There was good chemistry between him and Lucia McLaughlin as Maria who was captivating in her role. Still at school, Maria was not her first leading role, (she is already an accomplished ballet dancer, classical and musical theatre singer) and the part of Maria was made for her. This lovely girl has a wonderful future ahead – either in musical or classical theatre.

Tony Finnegan gathered an amazing cast for this iconic production, introduced some new and innovative concepts (such as the groups of children representing present day at the opening and ending of the piece) and worked extensively with Choreographer Anne Marie. In particular their ballet sequences were excellent. Young Rebekah Devlin gave a beautiful rendition of Somewhere during the second act ballet.  The impact of the company dance grabbed you by the throat with their colour and urgency. West Side Story is essentially a dancing show with songs and plot but the dance also acts as the exciting story reaches it’s traumatic ending. The groups in different highlight was an effective finale rather than “bows”.

Under the baton of MD Wilson Shields, the18 piece orchestra expertly covered the jazz, latin, symphony and musical comedy genres and were well balanced with the stage. The contrapuntal pieces were well sung and I loved the ‘echo’ effect in Tony’s Maria. 

All in all, this was a visually exciting production with great company vocals and individual voices. I thoroughly enjoyed the show and thank everyone involved for their contribution.

 

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