The Los Angeles Opera kicked off its 40th season with a powerful rendition of ‘West Side Story’ at the Dorothy Chandler Pavilion, a production that marks the intersection of music, dance, and a poignant commentary on societal issues.
The original concept for this adaptation of Shakespeare’s ‘Romeo and Juliet’ came from choreographer Jerome Robbins in 1949 when he reached out to composer Leonard Bernstein. Robbins envisioned a modern twist on the classic tale but was adamant that it should not fall into the realm of opera. With its premiere in 1957, ‘West Side Story’ emerged as a compelling narrative that offered a tragic reflection on racism without being categorized strictly as an opera.
At the Los Angeles Opera, the production stays true to the essence of Bernstein’s vision, focusing on the integration of music and dance to convey the emotional depth of the characters while steering clear of an operatic format. The final lines of Maria, delivered as a passionate plea against gun violence, are spoken rather than sung, underscoring Bernstein’s insistence on maintaining a musical theater identity.
The choice to present ‘West Side Story’ at the opera is particularly symbolic, as the L.A. Opera first introduced itself to audiences 40 years ago with Verdi’s ‘Otello,’ the greatest opera inspired by a Shakespearean tragedy. This new production reflects a rich theatrical history and the evolution of storytelling through music.
Francesca Zambello’s direction preserves much of the original production aesthetics, even as the experience of attending an opera differs significantly from that of a Broadway theater.
One notable distinction is the emphasis on music, with the orchestra, comprised of 28 players, providing a lush sound under the baton of James Conlon, who is entering his final season as the company’s music director. His leadership adds a layer of grandeur to the performance, enhancing the portrayal of the Jets and Sharks — groups comprised predominantly of immigrant families.
Tony and Maria, portrayed by tenor Duke Kim and soprano Gabriella Reyes respectively, showcase their opera backgrounds in a performance blending vocal power and emotional resonance. Kim, who played Romeo in a previous production, delivers a tenor performance that captures the character’s essence, while Reyes, making her debut with the company, brings an operatic quality to her role.
The production cleverly addresses a long-standing challenge for ‘West Side Story’ — the requirement of singers who can manage Bernstein’s demanding musical complexities while also mastering Robbins’ intricate choreography. The subtle inclusion of a few chorus singers to support the leads ensures a richer vocal experience without detracting from the solo performances.
While the choreography and original text remain intact, the production does grapple with contemporary relevance. The Jets have evolved beyond simply being depicted as Anglo but are not explicitly identified as Latino, representing a modern-day nuance in racial dynamics.
Zambello’s interpretation leaves some elements of the original choreography dated, yet those performances are still electrifying and serve as a bridge between the past and the present.
The performance may evoke nostalgia for the 1957 context, but modern-day reflections on immigration and identity resonate deeply in the narrative, especially with the current national discourse on Latin immigrants.
The characters themselves grapple with issues of identity and belonging within a society that often views them as outsiders, emphasizing the tragic consequences of systemic violence.
Duke Kim’s portrayal of Tony grows into a compelling representation of longing and ambition, while Gabriella Reyes embodies the evolution of Maria from innocence to a fierce advocate against gun violence. Her moment of confrontation is a testament to the powerful message of the production.
Additionally, the supporting cast features strong performances that capture the complexities of the struggle between the two gangs. Amando Castro shines as Anita, with P. Tucker Worley bringing buoyancy to Riff and Yurel Echezarreta adding charm to Bernardo.
This production of ‘West Side Story’ isn’t merely about the binary of good versus evil; it delves into the nuances and harsh realities of the conditions that create divisions. The essence of the show lies in its ability to evoke empathy for all its characters, illustrating how the cycle of violence is a product of the broader societal framework.
In conclusion, Los Angeles Opera’s adaptation of ‘West Side Story’ melds tradition with present-day relevance, stirring audience emotions while honoring the original spirit of the work. It challenges viewers to reflect on the conditions that lead to conflict and the necessity of compassion in a divided world.
image source from：latimes
