Miranda Musical Theatre Company: West Side Story - Review by Daniel Conway
As an English teacher, I have taught Romeo and Juliet almost every year of my career. One thing that people get wrong about it is that, until the boys die, it is a comedy in the Shakespearean sense. It is a silly love story with the backdrop of warring factions. That sense of youthful pride that drives the characters is why West Side Story is probably the most famous and successful adaptation of Romeo and Juliet in popular culture. While Act One is not a comedy, it is full of whimsy and a dismissal of the very real dangers that exist for young people allowed to stew in anger. Couple that with a timeless score and iconic style, and West Side is a musical with a history and a weight of expectation. Miranda Musical Theatre Company has thrown so much into this slick and impressive performance that carries the weight perfectly.
The first thing that I have to commend MMTC for is the commitment to appropriately addressing diversity in theatre. West Side Story is a story about racism. That is at its heart and cannot be avoided. The inclusion of Irene Toro as cultural liaison sets a standard for community theatre: it is not good enough to simply cast diversely; we must also recognise that stories about communities cannot be divorced from that reality. The program featuring the cultural backgrounds of the performers and the evident care that has been taken with the mannerisms and accents prove that all it takes is work to ensure we are telling stories sensitively and intentionally.
That intentionality is carried through all aspects of the show. Director Amelie Downie's vision is clear. During the 'Somewhere' ballet, the dance partners reflect the warring factions at peace, while in 'I Feel Pretty', the shadows of the cityscape loom as an omen of the darkness approaching Maria. These storytelling choices were so well done and compelling. The set, designed by Downie and Associate Director Tim Dennis, was stunning, with beautifully executed lighting to help drive the narrative along. Visually, this is a strong production that is arresting from the first moment of chaotic movement to the solemn stillness of the finale.
Some shows are singers' musicals, others are dancers'; this one was for the triple threats. The work of Chris Bamford and Daniel Baykitch cannot be overstated. Bamford created magic on that stage, capturing the essential style of the piece while also bringing real purpose to the shapes he created, never missing a beat in layering storytelling into his movement. Baykitch has made sure the vocals are never an afterthought to the movement. Ensemble numbers were so rich and the band were tight. The only issues with the songs were some sound hiccups on opening night. Daniel Mark Wakeford powered through 'Something's Coming' without a microphone, despite the best efforts of a stagehand to give him a handheld.
Speaking of Wakeford, his performance as Tony was a pure delight. He was charming and affable, with commanding presence and leading-man charisma. His voice is flawless, and he had excellent chemistry with everyone he interacted with. This is never clearer than in the scenes he shares with his Maria, played superbly by Jasmine Salinas. Maria is, in my opinion, one of the hardest roles in the show. Youthful and innocent, she is often played as a blank slate, but Salinas brought so much strength and conviction to the part without ever sacrificing her softness. Her Maria felt self-assured, with an agency that can be removed depending on how she is played.
Anita is by far my favourite character, and Isabella Rodrigues is a force on the stage. With undeniable star quality and a glorious voice, Rodrigues was in control of every moment and exuded the confidence and sensuality that the role requires. Alongside her is Bernardo, played by Bryan Lugo. Lugo is suave, dominant and powerful in his movement. I think a failing of the book is that we don't really get to know Bernardo as well as we should, which, I guess, is part of the tragedy of this young life being taken. But it is also a testament to just how good Lugo is. His Bernardo is fully realised and communicated to the audience.
Riff, on the other hand, played by Miles Farrell, gets a bit more focus, which is great for the audience because Farrell is exceptional. A leading man in his own right, Farrell played Riff as headstrong and loveable. This may be me projecting, but I got the sense that his Riff was a good kid who needed love and support, which made him endearing and his inevitable death a gut punch.
The leading cast are surrounded by a hugely talented ensemble who are bloody brilliant. But I have to give a shout-out to the 'adult' cast, who make the most of every scene, particularly Garth Saville as Doc, whose character is the stand-in for the priest in the original play. He is a moral centre, and his final scene with Tony is heart-wrenching.
This show is special and is the very best that community theatre has to offer, so much so that you would be forgiven for thinking this was a professional production. Congratulations to Miranda Musical Theatre Company on a great night
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