Review: West Side Story

Tonight Central Hall transformed from the looming building we associate with exams and mind-numbing fire talks, into 1950s New York and the scene of a gang war. The battle between the Polish-American Jets and the Puerto Rican Sharks for control of the streets is full of fire but this time there is not a yawn in sight. Based on Shakepeare’s Romeo and Juliet, West Side Story tells of the whirl-wind romance of Tony and Maria. The young lovers are caught in the middle of a racial divide, testing their loyalties and aggravating ultimately fatal tensions.

CHMS certainly set themselves a challenge by taking on such a world-renowned production, but the gamble paid off. Hitting all the right notes, the show is a vibrant mix of comedy, sass and heart-wrenching drama. Bernstein’s lengthy overture is handled well by the orchestra and builds the anticipation by hinting at the melodies of the iconic musical numbers. The opening dance number has a few timing fumbles but once the nerves are shaken off, the cast relax into their roles and the show springs into life, aided by an impressive back-flip from Tom Jones as Riff.

The rivalry between the gangs has an entertaining dynamic while also relating to the serious reality of the time. Jones riles up the Jets with a casually authoritative demeanour, a tone which works brilliantly in the pre-confrontation rendition of ‘Cool’. Working well as a group, the individual members of the Jets provide some stand-out performances. Tristan Landymore nails his hilarious portrayal of Baby John, while George Morgan’s wonderful subtle acting as Arab shines through. Pete Watts’ Action takes charge of the group in the second act, with comic moments in abundance. These elements collide to create magic in ‘Gee, Officer Krupke’. The staging and choreography of the number, combined with winning solos from Watts and Landymore had the audience crying with laughter and completely stole the second half of the show.

Not to be out-done by the Jets, the Sharks put up an equally impressive fight – quite literally. Luke de Belder’s Chino develops from sweetly awkward to vengeful killer effortlessly. While Matthew Lecznar is everything you could want from a Bernardo with sleazy charm accompanied by impressive vocals and dancing. This performance is further elevated by Emilie Smith’s Anita playing opposite him. Showing her versatility, Smith wins the hearts of the audience with her comic instincts completing the performance of ‘America’, and then makes them break with her through her grief, all the while retaining the straight-talking essence of the character.

Those with less prominent roles are not over-looked. Simone Ibbett-Brown receives a well-deserved cheer for her brief but priceless role as Glad Hand. Additionally, Sarah Norvock’s rendition of ‘Somewhere’ is beautiful. As an entirety the cast is strong.

Despite an abundance of talent on stage, the main characters are not over-shadowed. The meeting scene of Tony and Maria, played by Caolon Keaveney and Ana Beard Fernández, shares the slightly tentative start of the dance scene it is contained in. But the romance soars from there. Fernández captures the quaint awkwardness of the young Maria, while Keaveney grows more charming as the pair fall rapidly in love. His vocals are outstanding, particularly during ‘Maria’ where the bare stage allows the song to sell itself. Fernández’s remarkable soprano works to create a lovely duo, showcased in a moving performance of ‘Tonight’, but the emotional connection is not just in the lyrics but the impeccable acting of the couple.

The only disappointing part of the performance is that it has to end. All the elements combine to create an explosion of life and excitement, which are as hard to forget as the tune of ‘America’ playing repeatedly in your head long after the final bow. The cast and crew of CHMS are to be congratulated for firstly attempting this production but moreover for absolutely smashing it. If Vision used a star system this would definitely be a five star show.