Maria - Alma Sadé
Tony - Johannes Dunz
Anita - Sarah Bowden
Riff - Robin Poell
Bernardo - Mate Gyenei
Chino - John Baldoz
Conductor - Kristiina Poska
Staging - Barrie Kosky, Otto Pichler
The dazzling stage set and well executed dramaturgy by Barrie Kosky made a fitting update of arguably the most well known musical by Leonard Bernstein. The sheer energy and sophisticated dance choreography were memorable. It built the momentum and kept the dramatic flow successfully from a symbolic gang rivalry through basketball and freestyle dance competitions to the climatic 'Romeo and Juliet' death scene of Tony. Varied sizes of silver balls were employed to present the stage as a theatrical showcase alike quality talent shows on television. Interestingly, the Jets in their streetwear outfit that did not appear to be as aggressive as their rival. In contrast, hunky dancers with naked tattooed upper body marked the Sharks. Kosky probably not suggesting the difference in outfit mark the class difference but rather the group identity to distinguish itself from the other. These all created a sense of modern relevancy and made the visual impact.
Though I felt second half was slightly tame compare to the first. Although the focus shifted from two sides to the intimate relationship of Tony and Maria, but the darkened bare stage and only a bed in the centre seems more in line with the classic demonstration of a tragic ending, and somehow lacking the creativity we experienced first half. The neutral drug store could have been created in some scale instead just a bench selling groceries. Though it was probably constrained by the turntable stage and thus the theatrical concept itself had a certain limitation. Even so, it was a powerful ending that the gangs saw their deeds had done the damage and sufferings to those dear to them and themselves. Yet we would never know whether reconciliation ever take place as the curtain fell when the group saw the death of Tony.
It was an interesting experience to hear the dialogues in German whereas the singing in English. Nothing wrong with that and a good attempt by a native German cast tried to get their American accent as close as possible. My only reservation was most dropped the 't's and Kosky as an English speaker could have guided the fellow singers to improve the diction. Johannes Dunz as Tony was probably the best with accent and singing. Alma Sadé was dramatically convincing as Maria but her intonation was not always secured. Robin Poell and Mate Gyenei impressed me that they could sing well while dancing at the same time. John Baldoz was slightly tame compare to the rest both acting and singing despite the good look. The orchestra was musically the best of all and maintained a good direction in the music making. The percussion units were highly impressive by their rhythmic precision and elevated the dance moments with musical excitements. The amplification of the strings did no harm and maintained a good balance on the sound system. It is definitely worthy to mark the 25th anniversary of the composer's death with this fitting update.
Tony - Johannes Dunz
Anita - Sarah Bowden
Riff - Robin Poell
Bernardo - Mate Gyenei
Chino - John Baldoz
Conductor - Kristiina Poska
Staging - Barrie Kosky, Otto Pichler
Though I felt second half was slightly tame compare to the first. Although the focus shifted from two sides to the intimate relationship of Tony and Maria, but the darkened bare stage and only a bed in the centre seems more in line with the classic demonstration of a tragic ending, and somehow lacking the creativity we experienced first half. The neutral drug store could have been created in some scale instead just a bench selling groceries. Though it was probably constrained by the turntable stage and thus the theatrical concept itself had a certain limitation. Even so, it was a powerful ending that the gangs saw their deeds had done the damage and sufferings to those dear to them and themselves. Yet we would never know whether reconciliation ever take place as the curtain fell when the group saw the death of Tony.
It was an interesting experience to hear the dialogues in German whereas the singing in English. Nothing wrong with that and a good attempt by a native German cast tried to get their American accent as close as possible. My only reservation was most dropped the 't's and Kosky as an English speaker could have guided the fellow singers to improve the diction. Johannes Dunz as Tony was probably the best with accent and singing. Alma Sadé was dramatically convincing as Maria but her intonation was not always secured. Robin Poell and Mate Gyenei impressed me that they could sing well while dancing at the same time. John Baldoz was slightly tame compare to the rest both acting and singing despite the good look. The orchestra was musically the best of all and maintained a good direction in the music making. The percussion units were highly impressive by their rhythmic precision and elevated the dance moments with musical excitements. The amplification of the strings did no harm and maintained a good balance on the sound system. It is definitely worthy to mark the 25th anniversary of the composer's death with this fitting update.
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