West Side Story

2017 marks the 60^th anniversary of the Queensland Conservatorium and what better way to celebrate than to bring together students from the Griffith University musical theatre course and the conservatorium in a production of West Side Story which also turns 60 this year.

With 90 musical theatre students on stage and almost 50 musicians in the pit the sound they made in the “Tonight Quintet” was more than thrilling, it was orgasmic. The sequence, famous in musical theatre history, was the highlight of Kris Stewart’s reverent production of this landmark musical.

Jerome Robbins’ brilliant idea to relocate Shakespeare’s Romeo and Juliet to New York City’s gang-warfare area on the west side, coupled with Leonard Bernstein’s abrasive musical motifs and Stephen Sondheim’s street poetry lyrics, has given the work musical-theatre currency ever since it was written in the fifties. Unfortunately gang-warfare doesn’t go out of fashion no matter what era we’re in.

Courtney Monsma was a vibrant Maria with a sweet soprano that managed to scale the vocal heights the role demanded. Opposite her as Tony was Grady Swithenbank, who came across as a nice guy, if a little gauche, with solid vocals. Ebony Banks’ Anita was a Latin spitfire, dominating “America” and bringing pathos to the “A Boy Like That” finale.

As the peacock Bernardo, Austin Cornish was all cocky strut and one of the few characters who conveyed a genuine threat of menace, whilst his buddy Chino was in good hands with Elliot Baker.

“Dance at the Gym” was one of the first dance-sequences to lift off. With its bluesy hint of rock ‘n’ roll it gave choreographer Christopher Horsey a chance to display the talents of the whole ensemble who came through with flying colours. The other was the “Somewhere” ballet, which like the original production, used alternatives for Maria and Tony. Georgia Bolton, off-stage, movingly sang the song which reached a stunning crescendo when the whole company joined in.

Gayle MacGregor’s costumes were a perfect replica of the period, with the boys in tight stovepipe jeans and the girls in full skirts.

Shaun Gurton’s set, although it took time to move into position, stylistically conveyed New York’s tenements with their fire-escape ladders.

Finally, what a joy it was to have a symphony orchestra playing Bernstein’s score. His orchestrations have always been exciting and under the baton of Peter Morris they sounded fresh and alive.

Peter Pinne

Note: The production has been double and in some cases triple cast so different performers appear at different performances.