Opening for West Side!
So usually I dont like to tell people to read show reviews- becuz even if its positive its just one person's opinion- im not a fan of critics... But for those of u who live in the bay area we all know that every Bay Area performer's life long goal is to get pat craig to write a review with a positive note on your show- So when me and the cast of west side saw this we were about to fall out of our seats with excitement...
Posted on Mon, Apr. 04, 2005
'West Side Story' a triumph for DLOC
By Pat Craig
CONTRA COSTA TIMES
Sparkling and sophisticated, Diablo Light Opera Company's production of "West Side Story" unfolds as one of the best shows to ever dance across the Dean Lesher Regional Center stage.
The half-century-old musical, which opened Friday night, succeeds both as a singular work of art by director Grant Rosen and his cast and crew as well as the moving and heartfelt piece of entertainment crafted by Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim. It isn't often you get a one-two theatrical punch like that, particularly on a regional theater stage, but this production of "West Side Story," the first in the 15-year history of the Lesher, is a stunning example of how to do theater right.
Of course, it doesn't hurt that the show has one of the strongest scores in the history of the American musical. With tunes like "Somewhere," "Something's Coming," "Maria," "Tonight," "One Hand, One Heart," and a host of others that would light up anyone's musical hit parade, it's hard to miss. Then, combine that music with an updated story of Shakespeare's "Romeo and Juliet," set within the teen gangs of New York's festering West Side in the '50s, and you have a pretty good evening of entertainment.
In fact, many producers are content to simply put that abundance of theatrical wealth on stage and bask in the happy smiles of audience members. In other words, you have to try really hard to do a horrible production of "West Side Story."
Yet, there is so much more to the piece, as Rosen and company proved time after time throughout Friday's opening. Set designer Kelly Tighe and lighting designer Paul Miller teamed to create an overall dark and oppressive atmosphere, with only pinpoints of brightness, for this tale of love and hate in the slums. The set, built in a rough, angular manner, is immediately sultry and vicious.
At the same time, costumer Carol Edlinger has added bits of color that brighten and dull as hopes are heightened and then dashed.
In all, the show, by its look and the movement of the actors, who were also choreographed by Rosen, develops a wonderfully complex emotional subtext before a single word is uttered. The scene, even without sound, is charged and evocative.
Rosen has also given equal weight to the aspects of love and hate in the piece, which makes the story of star-crossed lovers Tony and Maria -- he American, she Puerto Rican -- all the more desperate and tragic.
The hate, which seethes throughout, has its roots in reality and rapidly escalates to absurd proportions. It becomes a life and death battle illustrated vividly by the dancing, which is beautifully able to turn on a dime from a group of guys just happy to be alive to a pitched battle over a tiny section of city turf.
While the story deals with racial issues from its own era, it isn't difficult to extrapolate from that a modern tale that underscores the silliness and futility of any sort of dispute that can lead to death.
To watch the show dry-eyed is nearly impossible, thanks to the above extrapolations and to the outstanding cast, led by Derek Lux and Meghann May as Tony and Maria. They make a strikingly realistic couple, capturing the breathless emotion of love in the face of danger and the urgency of young people looking for a better way to live their lives. Both are fine singers, but May has the sort of voice you could listen to all night long. Strong as well are Andrew Call as Riff, Donna Rapa-Olsen as Anita, Leslie Waggoner as Anybodys and Brett Cashen, who packs a remarkable amount of emotional power in his role as Baby John.
The engine that drives the show, however, is the dance corps, which really includes just about everybody in the cast.
It is a production that doesn't just sing and dance -- it flies.
Pat Craig is the Times theater critic. Reach him at 925-945-4736 or pcraig@cctimes.com.
CONGRATS to all of my lovely cast- We truly hit a home run with this 1 guys!!
Posted on Mon, Apr. 04, 2005
'West Side Story' a triumph for DLOC
By Pat Craig
CONTRA COSTA TIMES
Sparkling and sophisticated, Diablo Light Opera Company's production of "West Side Story" unfolds as one of the best shows to ever dance across the Dean Lesher Regional Center stage.
The half-century-old musical, which opened Friday night, succeeds both as a singular work of art by director Grant Rosen and his cast and crew as well as the moving and heartfelt piece of entertainment crafted by Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim. It isn't often you get a one-two theatrical punch like that, particularly on a regional theater stage, but this production of "West Side Story," the first in the 15-year history of the Lesher, is a stunning example of how to do theater right.
Of course, it doesn't hurt that the show has one of the strongest scores in the history of the American musical. With tunes like "Somewhere," "Something's Coming," "Maria," "Tonight," "One Hand, One Heart," and a host of others that would light up anyone's musical hit parade, it's hard to miss. Then, combine that music with an updated story of Shakespeare's "Romeo and Juliet," set within the teen gangs of New York's festering West Side in the '50s, and you have a pretty good evening of entertainment.
In fact, many producers are content to simply put that abundance of theatrical wealth on stage and bask in the happy smiles of audience members. In other words, you have to try really hard to do a horrible production of "West Side Story."
Yet, there is so much more to the piece, as Rosen and company proved time after time throughout Friday's opening. Set designer Kelly Tighe and lighting designer Paul Miller teamed to create an overall dark and oppressive atmosphere, with only pinpoints of brightness, for this tale of love and hate in the slums. The set, built in a rough, angular manner, is immediately sultry and vicious.
At the same time, costumer Carol Edlinger has added bits of color that brighten and dull as hopes are heightened and then dashed.
In all, the show, by its look and the movement of the actors, who were also choreographed by Rosen, develops a wonderfully complex emotional subtext before a single word is uttered. The scene, even without sound, is charged and evocative.
Rosen has also given equal weight to the aspects of love and hate in the piece, which makes the story of star-crossed lovers Tony and Maria -- he American, she Puerto Rican -- all the more desperate and tragic.
The hate, which seethes throughout, has its roots in reality and rapidly escalates to absurd proportions. It becomes a life and death battle illustrated vividly by the dancing, which is beautifully able to turn on a dime from a group of guys just happy to be alive to a pitched battle over a tiny section of city turf.
While the story deals with racial issues from its own era, it isn't difficult to extrapolate from that a modern tale that underscores the silliness and futility of any sort of dispute that can lead to death.
To watch the show dry-eyed is nearly impossible, thanks to the above extrapolations and to the outstanding cast, led by Derek Lux and Meghann May as Tony and Maria. They make a strikingly realistic couple, capturing the breathless emotion of love in the face of danger and the urgency of young people looking for a better way to live their lives. Both are fine singers, but May has the sort of voice you could listen to all night long. Strong as well are Andrew Call as Riff, Donna Rapa-Olsen as Anita, Leslie Waggoner as Anybodys and Brett Cashen, who packs a remarkable amount of emotional power in his role as Baby John.
The engine that drives the show, however, is the dance corps, which really includes just about everybody in the cast.
It is a production that doesn't just sing and dance -- it flies.
Pat Craig is the Times theater critic. Reach him at 925-945-4736 or pcraig@cctimes.com.
CONGRATS to all of my lovely cast- We truly hit a home run with this 1 guys!!