THEATRE
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WEST SIDE STORY
UK TOUR
his convincing performance as
"Action”, comfortably
conveying the characters
frustration and pent up
aggression and Djalenga
Scott entertained as the
feisty Anita.
Photo Credits Johan Persson Review: Paul Szabo
But the ensemble pieces
were where this show really
excelled, with the set,
which reflected the back
alleys and fire escapes of
the inner city, being
deceptively versatile, opening
up to create a generous dance
space for the large and very
talented cast to undertake the
breath-taking dance routines.
By going back to the original
choreography by Jerome
Robbins, the dance in this
production is simply superb to
watch – with the sequences
assisting in conveying and
moving forward the narrative;
the standout scenes being the
Mambo at the gym, and the
Ballet Sequence.
Set in the mid 1950s, two rival
gangs battle it out for control
of their little piece of the
Upper West Side of New York.
The Jets, local boys whose
families have lived there for
generations, are at
loggerheads with The Sharks,
the Puerto Ricans, who are
trying to settle into their new
lives. Tony, the former leader
of the Jets meets with Maria,
the sister of Bernardo who is
the leader of The Sharks, and
the two fall madly in love. But
as their love grows, so does The lighting was also well
the rivalry between the gangs, designed, utilising colour
leading to tragedy.
washes and
silhouettes
This revival of the classic alongside low
musical, based on Romeo and level
J u l i e t , i s a t h o r o u g h l y highlighting,
entertaining piece of theatre. providing a
The show has a gritty edge to visually
it and a dark, dramatic and interesting
emotional story at its heart. interplay of light
The score, with music by and shadow. The
Leonard Bernstein and lyrics balance between
b y S t e p h e n S o n d h e i m , vocals and music was
includes Tonight, Maria and fine – but the only
Somewhere, all of which still quibble in terms of the
pack an emotional punch. The production was the volume of
mood is lightened by the the speaking in between the
m i s c h i e v o u s G e e O f f i c e r musical numbers was a little
Krupkee, the flamboyant low, meaning it was
America and the whimsical I sometimes difficult to hear
Feel Pretty, with the whole of what was being said.
the classic score being played
b e a u t i f u l l y b y t h e l i v e The show has everything to
orchestra and expertly sung by please both established fans
the cast.
an d to in tro duce a ne w
generation of theatre goers to
Both Louis Maskell, who plays this beautifully crafted piece of
Tony, and Katie Hall as Maria, theatre. Some may find it
were in stunning voice, with heavy going, but for those who
H a l l ’ s a l m o s t o p e r a t i c would like a little more
q u a l i t i e s c o m p l i m e n t i n g narrative , characte r and
M a s k e l l ’ s e m o t i o n f i l l e d drama from their musical
vocals. Matthew Hawksley, theatre then this show is the
making his professional debut, one to see.
stood out from the crowd with
20 AUG / SEPT 2014 | THEGAYUK
For One Night Only on Thursday 18 September over
250 cinemas in the UK and Ireland including
Cineworld, Odeon and Vue theatres will screen one of
the world’s most spectacular opera events, giving
cinema audiences an exciting opportunity to see a
world-class production from the other side of the
globe. Handa Opera on Sydney Harbour makes a
welcome return to cinema screens with a modern
retelling of Puccini’s tale of love and honour,
Madama Butterfly, captured live from the waters of
the Sydney Harbour on a magnificent floating stage.
Madama Butterfly is the third production to be
staged by Handa Opera, suspended over the harbour
against a backdrop of the Sydney Opera House and
the Harbour Bridge. This outdoor spectacle is set on a
purpose-built stage with a Japanese bamboo forest
and giant sun and moon – both 12 metres wide which rise from the water to hang above the stage.
This will be the only Opera Australia production
screened in cinemas this season, and is a One Night
Only event.
More than a century after it was first performed at La
Scala in Milan, Giacoma Puccini’s three-act opera is
still one of the world’s most performed operas with its
poignant story of lost love and its unmistakable arias.
Said to have been inspired by French author Pierre
Loti’s semi-autobiographical novel Madame
Chrysanthème, it tells of a young Japanese woman
Cio-Cio San and an American soldier Pinkerton who
fall in love
despite their cultural differences.
When
reality separates the couple, the
lovelorn Cio-Cio carries the
torch for her beloved, certain
that he will return for her one
day.
Director, Àlex Ollé, of
experimental Catalan
theatrical company, La
Fura dels Baus, has
staged many outdoor
productions, including
Aida at Verona Arena in
2013. His very contemporary
production reimagines Pinkerton as a
ruthless property developer, who brings ruin to
Cio-Cio-San’s unspoilt world of delicate beauty,
symbolising the loss of paradise. Ollé makes full use
of the waterside setting, integrating the magical
landscape of Sydney Harbour at night into his
production. Cio-Cio-San’s suitor, Prince Yamadori,
arrives by motor-boat in Act II. And, as always with
Handa Opera, a dazzling firework display is a
highlight of the performance.
Japanese soprano Hiromi Omura portrays tragic CioCio San, having sung this role many times around the
world, including at the Deutsche Opera, Berlin,
Lausanne, Savonlinna, as well as Opera Australia. Her
co-star is the young Russian tenor Georgy Vasiliev
who performs the role of Pinkerton.
Handa Opera on Sydney Harbour has become an
annual treat, and as with both previous productions,
44% of ticket buyers for Madama Butterfly had never
attended an Opera Australia event before, reflecting
the true accessibility of this unique occasion to new
audiences.