Vivacious performances outweigh a host of odd directorial choices in the Washington National Opera‘s
West Side Story
If sex sells, then the 40 years of success for Evita show that the strawman construction and vicious takedown of an unsexy, supremely unlikable woman in just under two-and-a-half hours is just as viable a quantity.
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Time to stop being coy, I think. You and I had quite different takeaways on the show, didn’t we?
It’s 2020, Ivo’s the new Ethel Merman, and I caught a preview of his fourth Broadway show and first Broadway musical, West Side Story.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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