The sheer jolt of most artistic revolutions fades with time, until, retrospectively, they come to seem more like evolutions. Not. Leonard Bernstein packed his score with such shocks and risks – such complex rhythmic syncopations and sudden dissonances – as had never stunned the usually safe and cutesy musical theatre stage before, with some of his most thrilling music coming not in the songs, but in the dance sequences. His music flattered a simple story with some complexity.
The production revels in the vast, on-harbour stage, creating a widescreen cinematic effect, and yet with the majority of the audience still close enough to see the faces. The sound quality was mostly brilliantly clear, if sometimes unnecessarily loud, the one misstep being a shrillness to the vocals inThe design elements more generally are a joy. Brian Thompson’s set includes a motorway overpass that becomes an echo of the Harbour Bridge behind it, dramatically lit by John Rayment.
The last part used sustained sounds receding into the distance, bringing to mind, in modern form, Robert Frost’s line, ‘I have looked down the saddest alleyways’, from the poemGreatness is overrated and certainly overused. We elevate in emotion and remember in a glow and sometimes, years on, we realise, yeah, maybe it wasn’t quite that special.
Source: Entertainment Trends (entertainmenttrends.net)
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