Seeing this new version left me with such admiration for the power and grace of the first film version. Especially in the sense of space (physical) and the size of the original’s performances. The score is everything, of course, but the filigrees of social-consciousness Kushner’s dialogue adds are prosaic, and politically correct in a way that the Romeo and Juliet story just doesn’t need. The Maria is winsome and sings well, but Natalie Wood was incandescent (and photographed so magnificently). Yes, the casting of Rita Moreno was effective. But, for me, the choreography and the rhythmic editing fell far below the standard of the original. And yes, Chino and Anybody’s had more depth and focus, but to what avail? I happened to admire this Tony’s voice and forthrightness.
Also, for me, the shifts in the song order and the group numbers were all diminishments.
I don’t think any of my criticisms have anything to do with Latin-x-ness or non-Latin-x-ness. It has to do with the rise and fall of the Romeo and Juliet story.
And, sad to report, the choices about Anita (close-ups, costumes, and the way she seemed more like Maria’s surrogate Mom) just didn’t let us see into her or give a sense of the heat and commitment between her and Bernardo. “A Boy Like That,” of all the numbers, came closest to the high stakes of the original. |
