Name of Society

Name of SocietyBristol Musical Youth Productions

Name of ProductionWest Side Story

Date26.03.15

VenueRedgrave Theatre, Bristol

AdjudicatorClare Toghill

West Side Story is a well-loved show. It is theperfect project for a Youth Theatre Company to tackle; if the said Youth Theatre Company has within its society a talented bunch of performers who are willing to dedicate bucket-loads of time – time to perfect very tricky melodies, execute energetic dance moves and convey a broad range of intense emotions experienced by a culture of young folk living in Gangland New York in the 50’s.

Not only this, but the same Youth Theatre Company must be under the guidance of a Director with vision and they must be completely inspired by their concept. If all of this is enhanced with music, lights, costume and a big dose of belief; well, then you have a hit!

Bristol Musical Youth Productions didn’t only succeed in all of the above – they did it with a charming sensitivity and skill and a whole fresh, new vibe was added to the show here in this new re-incarnation.

This is one of the most focussed and professional Youth Theatre Shows I have been fortunate enough to witness.

PRESENTATION/ SETTING – DESIGN AND DÉCOR AND PROPS (Vicki Klein, Jon Richer, Jim Buckley, Annette Richer)The need for complicated sets simply does not arise in a production of WSS; the action on stage is mesmerising and compelling enough and needs no distraction. An apron stage of approximately two blocks width was employed and this increased the stage space considerably for this physical and energetic show. There were eight flats, hand-painted to resemble brick walls, windows and spray paint. The real moped on stage gave Tony a useful reason for his stage business throughout his solo, ‘Something’s Coming’, as he preened himself in its wing mirrors. It also provided a useful symbol of Tony’s newly-found status and improved wealth since growing up and getting a job.

Doc’s place was created with the use of two flats, which represented glass doors and the colour scheme was a fresh and simple sage green and white for the interior.

Two small flights of steps rose up to scaffolding platforms, which served perfectly as the balconies.

LIGHTING: (James Harrington)This department provided some very effective lighting. There were several memorable lighting states, such as the initial amber wash in the dry ice and in the Dance scene where a mix of magenta, purple and green intensified the tension present. An attractive blue was used for solos such as, ‘Maria’. The dream sequence used beautifully filtered red and white lights. There were no dark corners and the cues were all timely; well done.

SOUND AND EFFECTS: (James Hartland)The sound levels were spot on. Well done.

COSTUME: (Sheila Eastwood, Sheri Kohn, Wendy Scroggs)

This department excelled here and provided the cast with an up-dated and professional-looking wardrobe. The attention to detail was scrupulous and the cast looked vibrant and fresh, whilst retaining their cultural and tribal appearances. The Jets wore ripped jeans, Converse and jackets, or T-shirts. By contrast, the Sharks entered with their, ‘uniform’ of red and black, with a much sharper look. Shrank looked good in his business suit with no tie and Krupke with his distinctive Police uniform and hat. Anita was always immaculate and sassy in coloured lace and tight-fitting dresses. Maria’s iconic white party dress was perfect.

The Dance was very effectively dressed. Both gangs were obviously contrasting, and the Shark girls wore pink and red dresses with frills and flounce. The Jet girls wore sparkly, midnight blue, sequinned, halter-neck tops, jeans and converse, which looked fantastic and brought a fresh feel to this production. Doc was neat in his ubiquitous apron. Maria’s red nightdress was symbolic of her recent maturity. Well done to this department for top-notch work.

HAIR & MAKE UP: (Jayne James, Helen James, Kieran Reynolds, Charlotte O’Sullivan): Slicked-back hair and tanned skin for the Sharks looked striking, along with some arm tattoos which added to their signature look. Gelled and tousled hair for the Jets looked young and fresh. Shrank’s up-to-date hair style worked well. The girls all looked fabulous and were distinctive; the Sharks with their long curls and the Jets with high pony tails.

STAGE MANAGEMENT: (Jon Richer :)This was a slick show and it was well-managed. The dry ice was very well handled and completely discreet.Well done.

MUSIC/ORCHESTRA/MUSICAL DIRECTION: (Kerrie Duce)The orchestra played backstage and there was a monitor suspended in the auditorium for the benefit of the performers on stage. The music was set at the right sound levels and the cast worked well with the tricky numbers. A good deal of rehearsal had obviously gone into this side of the production and it certainly paid off.

DIRECTION: (Vicki Klein, Chris Parslow)

There is so much worth mentioning, but I will try to keep it brief!

The Hispanic gestures were very pleasing from the Sharks.

The height difference between Bernardo and Shrank was played out to full effect on a couple of occasions.

It was a nice touch for Maria to drop an earring and for Tony to bend down and pick it up, as he noticed her at the Dance. This is a potentially awkward moment to perform; particularly for younger actors and this detail gave it a realistic edge.

The final scene was powerful, but could have been slowed down a fraction more, in order for us all to digest what had just happened. Don’t be tempted to rush towards the finale.

SINGING:

‘Maria’ was a highlight as Tony gave the piece a storytelling quality to it.

‘Only You’ was a very tender number and Maria’s beautiful voice was fetchingly accompanied by Tony’s.

‘America; received rapturous applause.

‘I Feel Pretty’ was perfect with pretty harmonies.

‘Office Krupke’ was very much like the movie version…and this worked just fine.

PROPS: (Annette Richer:)All props were seamlessly used and this contributed to the smooth running of this show.

MOVEMENT AND DANCE (Vicki Klein)

Again, a unique freshness was brought to the show and the cast members were supple, lithe and more than capable of performing the complex routines that this show dictates. Each number was a joy to watch.

‘The Jet Song’ had a fabulous energy with lots of lunges, floor rolls and excellent vocal harmonies as the song came to a close.

The Dance: An illusion of space was created and this was skilful considering the compact size of the stage and the number of dancers on it at this time. The footwork, (particularly for the Shark boys) was fancy, complex and pleasing. The Shark girls executed high kicks, whilst the Jets performed more contemporary moves. There was a distinctive divide between the gangs. The level of accuracy was most impressive and the cast worked superbly as an ensemble.

‘Cool’ successfully contained the syncopated moves, finger-clicking, fist punches, lunges, tableaux and the ensemble’s timing was impeccable.

The Montage at the end of Act 1 was energetic. There was absolute professionalism as the cast froze completely still to create this series of tableaux.

The street fighting moves in the Rumble were outstanding, poised and energetic. All the boys were tight-faced and focused. Anybody’s, the police lights and sound FX of the helicopter brought this scene to a dramatic end.

PRODUCTION: This production certainly took some risks in that it offered up a fresh perspective on gang warfare and there were some interesting omissions of characters, (Glad Hands) and alterations of the order of scenes/musical numbers, (The Rumble, Gee Officer Krupkee) that enabled a modern, young audience to grasp its core concepts more freely. The axing of Glad Hands allowed the Dance to become more hypnotic and owned by the youngsters present; there was a feeling of release and the gangs danced as they saw fit, without the usual, and I suppose, rather dated Gymnasium Circle Dance directed uncomfortably by the geeky Compere Glad Hands. Starting Act Two with the Rumble instead of I Feel Pretty was perfectly coherent. Officer Krupkee was always intended to be a moment of light relief in the proceedings and it worked in its new placement here too.

There was a pleasing maturity and sensitivity between the Protagonists and often their joint scenes were mesmerising.

THE CAST:

The Jets:

Riff:Eamonn Buckley played this key role with verve. He was most pleasing to watch and we could really sense his need to belong to the Jets. His ability to dance and sing so well made him a very charismatic Riff and this is important for a gang leader to be credible like this. His vocal quality was strong and varied and he moved about the stage with a raw energy. ‘When you’re a Jet’ was superbly executed. His spoken dialogue was articulately delivered.

Tony:Tom Royall certainly looked the part of the more mature ‘Jet’ in his leather jacket and faded jeans. His vocals were stunning and possessed a wonderful storytelling quality to them in, ‘Something’s Coming’. His impatience at meeting someone/thing was tangible and very charming. He immediately became consumed with love for Maria after meeting her at the Dance and this was very believable. ‘Maria’ was a valiant effort with a tough song. There was a lovely vocal variety here and he was completely at ease on stage. His scene in the Bridal Shop with Maria was pleasing and engaging as they both moved around the space with confidence and an awareness of their young lives and the context in which they have met. Tony’s dancing in the Dream Sequence was powerful and elegant. Well done. There were some complex moves to execute here and he did so with a tender agility and without self-consciousness to distract us. This was a mature portrayal and the audience could easily connect with him, which is vital for the success of the entire production.

Action:Neil Collins played this character as one would hope; full of intensity and pent up anger and energy. “None of you was ever my age”, this was a great line. His fight moves were super.

The Jet Boys. (A-Rab, Baby John, Snow Boy, Big Deal)

Baby John was cute and played his innocence well. Anybody’s possessed a great energy and the physical body language of a Tomboy. ‘Va Va Voom’ was pleasing and Snowboy’s, ‘Digga digga doom’ too, along with plentiful facial expressions.

The Jet Girls. (Graziella, Velma, Minnie, Clarice, Pauline, Anybody’s):

‘An American Tragedy’, was a strong line. These girls were proud, athletic and charming. They worked very well as a team.

The Sharks:

Bernardo:Joe Hargan. This is an actor with great physical control. His height added to his Alpha Male status. He performed with a vibrant energy and delivered his lines with ease, even in a Puerto Rican accent. Well done.

Maria:This was a first class performance. Sophie Thorne was simply mesmerising as Maria. Her beautiful features were accentuated with the immaculate and feminine hair and make-up and her facial expressions were at once imploring, engaging, passionate and tender. Her slight physique leant itself to this role and Sophie brought grace and elegance to this portrayal. Her Ballet sequence was stunning; with all foot positions, leg and arm extensions held beautifully. Her vocals were faultless; this is a natural Soprano voice and we felt in very safe hands as she reached the top notes with ease. Her accent was spot-on and well-maintained.It is hard to believe that this performer is only 16 years of age, as she offered up such maturity and knowing of Maria’s plight from start to finish. Maria interacted so naturally with Tony that we could truly believe in their relationship and this is crucial for a successful production of WSS.

Anita:Sophie Scroggsattacked this challenging role with vigour.Her passion was tangible throughout and she brought maturity and fire to this role. Her sassy ways were entirely fitting. Do ensure that you vary the tone and pace of your dialogue to emphasise meaning. Anita was particularly adept at using facial expression to convey her thoughts and feelings. Her dancing with Bernardo at the Dance was neat and professionally executed, with lovely arm extensions, small steps and head rolls. She was magnetic in, ‘America’; expressive and poised. This is a number to throw yourself at and she did just this. ‘A Boy Like That’ was another powerful exchange. The taunting scene was physically powerful, but be careful to watch the pace of your delivery; a few words were lost here and her parting line,”…and spit on you!” must be savoured not hurried.

Chino(Gully Whitby)This was a gentle portrayal. He ensured that the audience spared a thought for him too. He was vulnerable as he gave his final report of the evening to Maria.

The Shark Boys:

(Pepe, Indio, Anxious, Nibbles, Juano, Toro and Moose)These boys were focused and charming. They maintained their attitudes throughout and made the gang feel real.

The Shark Girls:

(Rosalia, Consuelo, Teresita, Francisca, Estella, and Margarita):These girls had real fun with their musical numbers. They were attractive, immaculate and completely focussed. Their vocals were powerful and strong.

The Adults:

Doc (Chris Parslow): Spoke with a wonderful clarity and ease and it was easy to imagine we were truly in his drugstore. His pain for Tony, after Anita’s visit was tangible.

Shrank (Lynden O’Neill) was very commanding. Again, this was another updated role. He was ‘alive’ with the discomfort of caring for the boys, fearing for them and hating them for making his life a misery. This was a heartfelt portrayal and after years of watching this show; new meaning arose from Shrank’s dialogue here for me.

Krupke (Steve Blackmore) portrayed quite a menacing Krupke, and his presence was always felt.

EFFORT, ORIGINALITY AND ATTAINMENT:

This is a show that, I feel, members, supporters and audience alike, will remember for a very long time. Well done, BMYP.

Thank you for your most kind hospitality and I wish you every success with your next production,

CLARE TOGHILL

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