Over 17 years on the Melbourne arts scene, The Production Company has carved itself a valuable niche, distinct from both the ever-increasing whiz-bang spectacle of the commercial sector and the imaginative and original work of subsidised theatre.
The Company’s strength is in allowing the essence of the show – the song and dance – to take centre stage, giving performers the space to shine. In doing so it consistently delivers what its audience wants, great entertainment that celebrates that capacity of a musical to lift our spirits and release our emotions.
After three musicals a year for such as sustained period, it can occasionally feel as if the repertoire is wearing thin. New scripts are out of the Company’s remit (and price range) and there is a reason why some of the lesser known musicals have remained that way.
But Artistic Director Ken MacKenzie-Forbes has chosen one of the greatest for his 50th show. West Side Story ticks all the boxes: a genuinely moving and remarkably well-constructed narrative, great songs and fabulous dance numbers. In a genre renowned for cheese and schmaltz, it is strikingly well-attenuated which is why we walk away stirred and lifted despite the fact that it breaks a standard rule of the genre and refuses us a happy ending.
The original production was put together by some of the biggest names of Broadway: Jerome Robbins, Leonard Bernstein, Stephen Sondheim (and the lesser known Arthur Laurents, who gets not enough credit for the excellent book). It won a raft of awards and between revivals and the film it can be assumed that only the youngest audience members are seeing it for the first time.
Gale Edwards delivers a polished production, which is faithful to the original and makes the most of the considerable strengths of her ensemble. The various elements of song, dance and story are nicely balanced so the production has perfect pace and pitch.
Choreography is the stand out of West Side Story and choreographer Michael Ralph delivers in spades, giving us Jets and Sharks who swagger and sing with gusto. The ensembles are an absolute joy to watch, all youthful energy and sass. For The Production Company it is a relatively large cast and with the help of Shaun Gurton’s simple but clever design, they fill the stage, a rare treat in a Production Company show.
Anna O’Byrne is a lovely Maria with a soaring singing voice and an accurate – if perhaps a little heavy – Puerto Rican accent. As Tony, Gareth Keegan took a little time to warm up on opening night – his first song was distinctly shaky – but setting eyes on Maria seemed to set him right. He was a sentimental rather than a powerful Tony and half of a sweet romantic couple.
Sean Mulligan as Riff and Adam Fiorento as Bernardo both had the necessary charisma to be gang leaders and took their teams along with them in style.
Deone Zanotto , who played Anita with Latin flair, was troubled by a case of laryngitis on opening night. She performed but had to be voiced by Amanda Harrison (singing) and Natalie Gilhome (speaking). The lip-synching was done so skilfully that we wouldn’t have known had it not been announced by MacKenzie-Forbes and the work of all three pieces of Anita is a tribute to the professionalism of a cast who made sure the show went on.
West Side Story is a great show that reminds Melbourne audiences what a contribution The Production Company makes to the performing arts smorgasbord of the city.
Rating: 3.5 stars out of 5
West Side Story
The Production Company
11-19 July
State Theatre
Tickets
