Broadway Features and Reviews
West Side Story Opening Night Reviews
, Broadway Magazine Staff
The highly anticipated revival of West Side Story had its official opening night last night on Broadway, and this morning the Broadway critics are voicing their opinions of the production. Directed by Arthur Laurents, who wrote the book for the musical, this production has earned attention for incorporating Spanish lyrics and dialogue to add authenticity to the story of two rival New York Gangs. Also, the debut of Josefina Scaglione as Maria has earned much attention out of town. The reception from the critics has been positive. Nearly all confirm that the production retains its emotional power, and that the Jerome Robbins choreography and Leonard Bernstein score are as fresh as ever.
While there were some elements of the production that were greeted with less praise, and critics are mixed on the infusion of Spanish lyrics and dialogue, the overall critical reception for this revival has been positive. West Side Story remains a classic. Excerpts from reviews below:
Mr. Laurents has exchanged insolence for innocence and, as with most such bargains, there are dividends and losses. - Ben Brantley, New York Times
The irony is that Laurents' attempts to be inclusive and grittily realistic - the final scene in particular suffers for his insistence on technical accuracy - make the show seem no fresher, only a tiny bit less magical. - Elysa Gardner, USA Today
Laurents has again dusted off one of his classic shows for a new generation, remaining faithful to the original conception while adding new textures to the drama. Most notable innovation is the choice to translate (via "In the Heights" composer Lin-Manuel Miranda) much of the Puerto Rican characters' dialogue and songs into Spanish. - David Rooney, Variety
The two rival gang leaders are played by Cody Green for the Jets and George Akram for the Sharks. They seem weirdly interchangeable, once they step off the dance floor and into Laurents' story. - Michael Kuchwara, AP
In fact, whenever Scaglione or Olivo are on stage the show kicks into gear. As Maria's square-jawed, star-crossed lover Tony, Matt Cavenaugh sings beautifully and melts convincingly into Scaglione's arms - but as soon as they stop pawing at each other, Cavenaugh goes cold. - Melissa Rose Bernardo, Entertainment Weekly
Fortunately, there is no dating of the material here. You would have to be made of granite not to be moved by Bernstein's score, while Robbins's spikey choreography - with its "Pows! and "Biffs! like a Batman comic - is as pumped up and testosterone-fuelled as it was in 1957. - Ed Pilkington, The Gaurdian
The real discovery here is Argentinean import Josefina Scaglione, who has every ounce of innocence required of Maria and whose soprano is pure and steady. - David Finkle, Theatermania
The breakout performance here, without question, is Karen Olivo's Anita. Olivo captures the necessary swirl of conflicted theatrical emotions - sympathy, anger, resignation, defiance. - Chris Jones, Chicago Tribune
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