My guest at the interval puts it succinctly: “the real test of any school play is that you forget you are watching children.” For sustained periods of this extremely ambitious production this is truly the case, and Clare Northwood and Sylvie Chatterton deserve high praise for achieving it. Martin Schellenberg’s musicians produced a sound of such bright, tight, brassy brilliance that they lifted the children to new heights.
Foremost in this were Shamus Palmer and Grace Jones in the lead roles of Tony and Maria, fantastically supported by Hugo Parry (Riff), Max Carleton-Smith (Bernardo) and by an inspired performance from Abigail Pearson (Anita). On a long list of deserving highlights, Shamus’ Something’s Coming, his duet with Grace (One Hand, One Heart) and, of course, the brilliantly executed America (Abigail and Sophie Drew) must surely rank very high.
West Side Story is testing in so many respects: the musical cues are difficult, there’s not a single straightforward song to be sung, there is extensive choreography to manage, there is both mime and dance, there are two accents to cope with and, of course, there is some acting to be done. But like so many challenges they turn their talents to, Abberley’s cast of sixty-three rose to the task in very fine style.
The Jets were hip but always on edge (Charlie Ramsden, Chris Spilsbury and Titus Bridgwood all notably good); the Sharks were cool but constantly restless (with Chino played really well by Adam Smith). The fight scenes looked every inch a back-alley brawl, and when they eventually arrived to break it all up, Lieutenant Shrank and Officer Krupke (William Charlesworth and Rory Martyn-Smith) were left world-weary and empty handed. The Jet and Shark girls danced with great energy and verve, while the greasy Gladhand (Peregrine Dunn) marshalled the dance with his own brand of nauseous humour. The brilliant duet ‘Somewhere’ between Snowboy (Simon Edwards) and Jenny Lea will long be remembered.
These memorable performances were given in brilliantly co-ordinated costumes (Alex Schellenberg), against the backdrop of a thoroughly urban set (Sue Vincenzotti and James Abbott) and with the help of very slick stage management (Hector Robertson). Lighting (Robert Hinchley) and sound (Martin Schellenberg and Alexis de Vienne) were always spot on, and a large number of other staff helped in a myriad of ways to make this production a fabulous, memorable musical evening. A final thanks should go to Mrs Griffin and Mrs Capper for the tremendous work they did in securing sponsorship for the superb programme, making the whole project possible. CPW
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