REVIEW: THEATRE ANCASTER’S WEST SIDE STORY STILL RESONATES DEEPLY
Theatre Ancaster’s Conservatory Company has taken many musical journeys to many periods of time: from the 1930’s frenzy of Berlin in Cabaret to the repressed 1890’s German villages of last year’s Spring Awakening. This year, the company steps, twirls and mambos onto the 1950’s New York City streets with West Side Story, the now classically beloved musical that redefined Broadway. Inspired by William Shakespeare’s Romeo and Juliet, this timeless production tells the heart-wrenching tale of Tony and Maria—two young lovers caught between the rival street gangs, the Jets and the Sharks and how hope and idealism is often overshadowed by the realities of the world. Director Nupi Gokhale asks audiences to reflect upon a question still raised by this musical almost seven decades since its first performance: who belongs and, perhaps more importantly, who decides?
This question is front and centre as audiences are introduced, through dance and fight choreography (both well-executed by Janessa Pudwell and Kit Simmons respectively), to the Jets (led with boyish charm by Ben Freeman) and the Sharks (led with no-nonesense fervour by Ivan Bond). The gangs combine a skilled use of ballet and jazz style dance into their opening fight scene and when the fight choreography lands, you feel its intended impact. Adding to the impact is the score, conducted by Music Director Jennifer Evans-Laframboise, richly played by the 14-member band. The live music enhances the entire experience as the instruments lend themselves to dissonant sound effects of the fights and heighten the emotions portrayed through dance. As the police arrive, you feel the unease that they believe neither group is worthy of belonging but side with the Jets because they’re familiar. What’s disheartening is the reality that neither gang is the “good guy” (spoilers) but both struggle to be seen, heard and respected in their crumbing communities. Turf and brotherhood are all a young man can hope for and Jet Song suggests a life-long comradery that feels like family.
The Jet ensemble (Chris Martel, Owen Lapsley, Noah Meeboer, Gage Minard, Justus Alexander, Owen Greenway and Josh Matijasich) are energetic, precise and support one another throughout the entire production and get to show some much needed levity (and pointed social commentary) in Gee, Officer Krupke. They never let any minor slips deter them, a sign of great professionalism on stage. This is equally true for the Shark ensemble featuring solid performances from Mark Rotil, Zain Lapsley, Lucas Pinto Rito and Prince Zagala.
As the scene shifts, Riley Daniel Macnab takes the stage as Tony. Having already shown jaw-dropping, triple-threat levels of performance as the Emcee in Cabaret and smarmy boyfriend Warren in Legally Blonde, expectations were high and Macnab does not disappoint. His rich tenor voice soars effortlessly through all his numbers, especially during the outpowering of love at first sight in Maria and Tonight, Tonight. The amount of vocal control Macnab exhibits is impressive and the audience held extra long, well-deserved applause during many of his solo numbers. Macnab also understands the deeper meanings of lyrics and text in the show and this reflects in how he presents his character as both wildly idealistic and stubbornly naive. He emotes with his entire being and it is a truly standout performance.
We then meet the other half of our soon-to-be star-crossed lovers, Maria (played with exquisite charm by Mia Rodriguez-Sosa) as well as her friend Anita (in her debut performance with Theatre Ancaster by Gabriela Velasquez). Both actors have a believable sisterly bond as they sassily banter about dresses, boys and the upcoming dance. There’s some great character building early on that shifts as the tragic circumstances unfold in their story. Their scenes together are some of the better acted ones within the show, especially in the second act, and their duet A Boy Like That/I Have a Love gave me goosebumps.
The dance at the gym scene is considered iconic by musical theatre standards. It is a vibrant frenzy of dance styles, reflecting how the gangs battle without weapons. It is a perfect reflection on how dance conveys what we cannot say out loud and choreographer Janessa Pudwell executes this exceptionally well. The entire ensemble is high-energy and flashy but there are some moments of what felt like uncertainty or restraint from characters who should be the most fluid and free. Nonetheless, it is a fantastic dance number to behold with many nods to the original choreography by Jerome Robbins. This choreographed excellence is also showcased in numbers like Cool, Tonight (Quintet) and the second act’s dream ballet featuring the hopeful ballad and show’s main message Somewhere.
Rodriguez-Sosa and Macnab have instant, intimate chemistry that doesn’t let up. What’s especially noticeable as the story progresses is how Macnab is the constant lofty dreamer and Rodriguez-Sosa tries to keep their whirlwind romance grounded. This dynamic is necessary for these two characters to work without falling into unbearable love-struck territory. Their songs together are beautifully sung with Rodriguez-Sosa’s remarkable soprano filling the entire auditorium. Both performers emote their feelings as well on top of the challenging vocal performances they are expected to deliver. Stellar work from both throughout. Bravo.
As the show progresses, there are plenty of great staged effects, fight choreo, lighting designs and relatively quick scene transitions. However, during some scene changes, the performer is overshadowed by what is going on in the background and it does momentarily distract from these stunning vocal and dance performances. That being said, the production that flows well overall and the entire ensemble assists with changes to ensure very little momentum is lost. The show’s ending monologue by Rodriguez-Sosa is gut-wrenching and left a tear in my eye knowing that there is no resolution to the loss she and others have suffered due to such reckless hate and misunderstanding.
The character Doc (played with haggard wisdom by Devin France), reflects at one point that all this fighting and tragedy makes the world lousy. It heralds back to the director’s reflection about who gets to decide who belongs and who doesn’t. It’s hard not to see the parallels of this musical’s message in our modern political climate and it resonates deeply. West Side Story proves how relevant its themes still are and will leave you not only discussing the powerful performances but also what it means to belong or not belong in a world that sadly, still feels lousy. As the lyrics in Somewhere suggest, we have to hold on to the hope that we can make the world better and this story remains a timeless reminder that it is possible. Don’t miss your opportunity to see this insightful and incredible production on now until August 17.
Image One - The Jets of Theatre Ancaster's West Side Story. From left: Justus Alexander, Chris Martel, Gage Minard, Josh Matijasich, Owen Lapsley, Owen Greenway, and Noah Meeboer. Photo: Gareth Skipp
Image Two - The cast of Theatre Ancaster's West Side Story. Photo: Gareth Skipp
Image Three - Riley Daniel Macnab as Tony and Mia Rodriguez-Sosa as Maria in Theatre Ancaster's West Side Story. Photo: Gareth Skipp
