The production of Leonard Bernstein's West Side Story at the Vienna Volksoper, directed by Lotte de Beer, promises a contemporary interpretation of the world-famous musical. Nevertheless, this new interpretation raises questions about the balance between tradition and innovation.
With its premiere on January 27, 2024, a production was presented that is characterized by both bold artistic decisions and criticism of its implementation. The piece is performed regularly - the dates can be found on the Vienna Volksoper's homepage. This article examines the production from a theater studies perspective, with particular attention to dramaturgy, stage design and actor direction.
Minimalist stage design and symbolic spaces
The set, designed by Christof Hetzer, differs significantly from the original atmosphere of New York's street canyons. A minimalist approach dominates: gloomy walls and only a few set pieces characterize the scenes. The choice to strongly abstract the urban context of the action polarized opinions.
The production creates a "non-place" aesthetic that emphasizes universal conflicts while almost completely erasing the specific New York local color. A pastel-colored house that appears during the dream sequence "Somewhere" was deemed out of place and kitsch by critics, as it interrupts the serious tone of the scene and disrupts narrative coherence.
The Choreography: Departure from the Original
One of the most striking elements of West Side Story is the choreography designed by Jerome Robbins, here replaced by Bryan Arias. While Arias' approach shows respectable energy and precision, critics say the dance scenes lack the emotional power and virtuosity of the original.
The iconic fights between the gangs in particular seem less thrilling, which weakens the tension of the production. Arias' choreography appears technically solid, but dramaturgically inadequate in its combination of music and movement.
dramaturgy and character drawing
The production focuses heavily on the main characters Maria and Tony, played by Jaye Simmons and Anton Zetterholm. Simmons impresses with her vocal presence and believable portrayal of youthful infatuation, while Zetterholm remains somewhat pale as Tony.
The production also received criticism for the portrayal of the minor characters, such as Anita, whose importance was greatly reduced in this version. Myrthes Monteiro, who plays Anita, remains inconspicuous, although this role is often considered the emotional heart of the musical. Only Nicolaus Hagg as the cynical Detective Schrank and Axel Herrig as the empathetic Doc stand out from the ensemble and give their characters an impressive depth.
musical implementation
Under the direction of Ben Glassberg, the musical performance of the Vienna Volksoper remained true to the original. Bernstein's unmistakable style, a mixture of jazz, classical music and Latin American influences, was interpreted with technical precision but emotional restraint. The well-known score, which includes classics such as "Tonight" and "Maria", only partially unfolds its full effect. Critics complained that the production did not fully connect the musical dynamics with the plot and the emotional climaxes.
West Side Story at the Vienna Volksoper is an example of how a modern interpretation of a classic tries to balance aesthetic tradition and innovation. The reduction to symbolic spaces and the departure from Robbins' choreography are bold decisions, but they do not always come across as convincing. While the musical performance and the performance of individual actors are convincing, the production as a whole falls short of expectations. It illustrates the challenges of rethinking a work that is so deeply anchored in the collective imagination while retaining the core of its impact.
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