West Side Story Spoiler Free Review

Image Credit: Daniel Fleming

West Side Story - 3.5 out of 5 starts
The Metropolitan Musical Theatre Co of S.A. Inc
TICKETS: https://themet.sales.ticketsearch.com/sales/salesevent/164408

The Metropolitan Musical Theatre Co of SA Inc (The Met) presents West Side Story, based on a conception by Jerome Robbins, with a book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim. Creative team Selena Britz (Director), Ben Saunders (MD) and Jacinta Vistoli (Choreographer) have brought this classic 1950s musical back to Adelaide, making a solid effort with a story many love—whether as Sondheim fans, or lovers of Shakespeare’s Romeo and Juliet.

Britz has a clear respect for the musical’s tension, romance and tragedy, guiding the cast through the explosive gang conflict and the quieter emotional beats. Her staging makes strong use of the Arts Theatre’s space, ensuring the story is clear and engaging even during its most crowded ensemble scenes.

Saunders’ 10-piece orchestra brings Bernstein’s score vividly to life, with many familiar tunes and sensitive underscoring. His work with the cast’s vocals is equally impressive, with strong blend, control and confidence evident throughout the ensemble numbers and more intimate duets. There are some minor mixing issues, with occasional vocals lost beneath the music, but these are likely to be ironed out as the season progresses.

Vistoli’s choreography captures the raw energy, aggression and physicality at the heart of West Side Story. The Jets and Sharks move with impressive commitment, while the dance sequences retain character and storytelling rather than existing purely for spectacle.

Daniel Scott’s Tony delivers some lovely vocal moments, particularly when the music sits comfortably within his range. While a few higher passages show signs of strain, his sincerity and his connection with Kahrynn Hartshorne’s Maria give the production its emotional centre, particularly in the devastating final scene as Tony searches for Chino.

As Maria, Kahrynn Hartshorne is an exceptional singer, delivering one of the production’s standout vocal performances. She brings innocence and growing strength to the role, making Maria’s journey all the more affecting. As she accumulates further credits, she is sure to become an increasingly familiar name in Adelaide theatre.

Image Credit: Daniel Fleming

Lachlan Stieger’s brilliant dancing and strong singing make Riff a magnetic presence. He brings clear leadership to the Jets and convincingly establishes himself as Tony’s right-hand man, anchoring much of his performance.

Jasmin Paukkunen’s Anita is beautifully characterised throughout, balancing fire, humour and protectiveness with confidence. Her work in “America”, alongside Julia Cruz’s Rosalia, is a highlight, with their voices blending wonderfully and giving the number an extra lift.

As Bernardo, Ewerton Silva is a brute in the purest sense, commanding the stage as the Sharks’ formidable leader and providing a convincing physical and dramatic counterpart to Riff. Caleb Wilhelm’s Chino brings a quieter but equally powerful intensity, transforming from restrained figure to dangerous presence as grief and anger take hold, with his final confrontation with Tony carrying a chilling sense of inevitability.

Matty Turner as Action and Maddi Eames as Anybodys are highlights among the Jets. Turner brings strong character work, vocal presence and sharp movement to the role, marking himself another young performer likely to make a significant impact on Adelaide’s theatre scene, while Eames is a surprise standout. Despite limited dialogue, she seizes every opportunity offered, ensuring Anybodys is always visible and present without upstaging those around her.

Jake Nicholls as A-Rab has an easy confidence to the Jets, while Rhys Young’s Baby John captures the younger, more vulnerable edge of the Jets. The other members of the Jets and Sharks form a cohesive ensemble, with their movement work and commitment to the production’s physical demands helping establish them as formidable rivals. There are countless moments where Vistoli’s colossal choreographic undertaking is almost perfectly synchronised.

The Jet Girls, led by Asha Coppin’s Graziella, are a strong presence, with Coppin’s dance ability sure to be an asset to Adelaide theatre. She is well supported by Hannah Poel, Sienna Tappert, Madison Sanders and Sasha Simpson, while Shark Girls Rosanna Barani, Sara Scholz and Eliza Kennewell bring matching attitude and energy. Together, they add vibrancy to the dance sequences and group numbers, complementing the stronger character work of Anita and Bernardo.

Image Credit: Daniel Fleming

The dual roles of Doc and Glad Hand are in excellent hands with Russell Ford. As Doc, he brings a quiet decency to his attempts to quell the escalating violence, while as Glad Hand he embraces the comedy wholeheartedly, playing the role to the nines and earning a warm response from the audience.

As Detective Schrank, Mark Gamtcheff was enjoyable to watch, particularly in his attempts to intimidate the Jets and Sharks – efforts that fall on deaf ears. He gives the role a suitably gruff authority without becoming a caricature.

John McKay’s Officer Krupke may have a smaller role in dialogue, but he makes every moment count. His presence and comic timing elevates “Gee, Officer Krupke” in Act Two, especially because the audience has a clear sense of exactly who they were sending up.

Beyond the performances, the production’s technical elements deserve praise. Saunders, Britz and Greer Tappert’s set design and scenic art is a highlight, with a static foundation featuring Doc’s Drug Store, Maria’s bedroom balcony and upstage fences and walls that allow for creative entrances. Interior sets on dollies are flawlessly wheeled on and off by the cast, evoking the swift scene changes of a classic film reel.

Jamie Lee Lawrence’s lighting design does not hold back, utilising the Arts Theatre’s offerings to their full capacity. There is an odd revolving light that makes its way onto the auditorium wall during one song, and some delay in the contact and gunshot effects; however, given the complexity of Lawrence’s lighting plot, these may simply be opening-night quirks.

Image Credit: Daniel Fleming

The Met’s West Side Story does not reinvent the classic, but confidently and energetically introduces it to a new audience. It honours the scale and danger of Bernstein, Sondheim, Laurents and Robbins’ beloved musical, while giving its talented local cast room to shine.

- Andrew Broadbent