Beit Lessin Theatre’s new production of West Side Story could – and should – have been truly memorable. The set design is distinctive and inspired, the choreography is inventive, the ensemble is energetic, the orchestra is excellent and the supporting actors are strong. Yet in the central role, the theatre made the unfortunate choice of casting a pop singer who is simply wrong for the part.
Tony is a romantic goody-two-shoes who, in a moment of rage, becomes a murderer. It is a difficult role to play, especially since he is surrounded by fiery, larger-than-life characters who can easily overshadow him. Yet Tony is central to the drama: we need to fall in love with him – and with his love for Maria – if the tragedy is to truly move us.
Raviv Kaner, who is greeted with applause the moment he appears on stage, is not an actor, and his singing is not strong enough to make up for his stiff, awkward performance. His renditions of Tony’s songs of love and hope fell flat, despite the director’s efforts to prop them up – flooding the stage with light during Maria in an attempt to inject the number with emotion and grandeur. Maria is played by Linoy Cohen, a recent acting school graduate. She looks the part and gives an appealing performance, with a beautiful voice to match. However, she has not yet fully mastered it, and her high notes often sound strained. As a result, Tony and Maria’s love duets never quite come alive.
Leonard Bernstein’s beloved and always relevant musical was last seen on the Israeli stage ten years ago, and I found myself wondering what the point of another revival might be – until I caught sight of the beautiful set design by Roni Toren. Built from large movable containers that transform into the show’s various locations, it not only reflects the characters’ social reality but also suggests how deeply they are trapped within their own racism and hopelessness.
For anyone in need of a reminder, this is a retelling of Romeo and Juliet, set against the backdrop of teenage gang wars in the San Juan Hill slum of 1950s Manhattan. When Riff, leader of the Jets, and Bernardo, leader of the Sharks, agree to a rumble that will decide “once and for all” who controls the streets, it was hard not to think of our own government’s repeated promises of “absolute victory.” Watching these naïve teenagers, it is painfully clear that no such thing exists – and trying to achieve it will bring an endless cycle of violence and tragedy. Why does that truth seem so obvious on stage, yet so elusive when it comes from politicians?
Riff is played by the excellent Dor Harari, who delivers a volatile, tightly coiled performance and proves himself a phenomenal dancer. Director Eldar Gohar Groisman makes clever use of Harari’s short stature by pitting him against the tall, striking Har’el Lissman as Bernardo. The tension and chemistry between the two are more electrifying than almost anything else on stage – including Bernardo’s scenes with Anita, played by Magi Azarzar, arguably the biggest star in the cast, aside from the celebrity casting mentioned earlier. Azarzar is a formidable actress and a capable singer, though at times she leans too heavily into Anita’s trademark sass. Also worth mentioning is Yael Avram’s funny and touching performance as Anybodys, the tomboy who yearns to be accepted into the Jets. She brings warmth and vulnerability to the role, making the character more than comic relief.
Michal Shay’s choreography is another highlight of the production. It pays tribute to Jerome Robbins’s iconic original movement language while introducing inventive new touches of its own, including a fruitful use of car tires. Equally impressive is the orchestra, positioned on stage inside one of the containers, serving as a constant reminder of the richness and brilliance of every note in Leonard Bernstein’s score.
The production uses the translation by Eli Bijaoui, the same one employed in the last Cameri Theatre staging. It is intelligent and fluid, capturing the rhythm of the piece with ease. At times, however, it strays too far from Stephen Sondheim’s original lyrics, whose brilliance remains difficult to match.
The production’s strongest moments belong to the ensemble, usually driven by the supporting cast. Numbers such as The Dance at the Gym and America showcase the show at its liveliest and most compelling. But the closest thing to a true showstopper is Gee, Officer Krupke, performed by the Jets – a number in which song, choreography, direction, and performance come together in near-perfect harmony.
Beit Lessin Theatre – תיאטרון בית ליסין
Musical
Music by Lenoard Bernstein
Director: Eldar Gohar Groisman
Set design: Roni Toren
Performed in Hebrew
Cast includes Raviv Kaner, Linoy Cohen, Magi Azarzar, Dor Harari, Har’el Lissman
Running time: 1 hour and 50 minutes