aviation, West Side Story in the Vienna Volksoper – Classic musical in a new look – Aviation.Direct

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 reinterpretation raises questions about the balance between tradition and innovation.

With its premiere on January 27, 2024, the production will be presented in the context of courageous artistic decisions as well as criticism of their 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 management.

Minimalist stage design and symbolic spaces

The stage design, designed by Christof Hetzer, deviates significantly from the original atmosphere of the New York city canyons. It is mastered in a minimalist approach: dark walls and only a few set pieces characterize the scenes. The choice to strongly abstract the urban context of the plot was polarizing.

The production creates a “non-place” aesthetic that emphasizes universal conflicts, but at the same time quickly completely erases the specific local New York color. A pastel-colored house that appears during the dream sequence « Somewhere » was considered out of place and tacky by critics, interrupting the scene’s serious tone and disrupting 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, which was replaced here by Bryan Arias. While Arias’ approach shows respectable energy and precision, the dance scenes are criticized as lacking the emotional power and virtuosity of the original.

The iconic fights between the gangs in particular seem less exciting, which weakens the tension of the production. Arias’ choreography appears technically solid, but dramaturgically inadequate in its combination of music and movement.

Dramaturgy and figure drawing

The production focused heavily on the main characters Maria and Tony, played by Jaye Simmons and Anton Zetterholm. Simmons convinces with her vocal presence and the believable embodiment of youthful infatuation, while Zetterholm remains a bit pale as Tony.

Criticism also turned out to be a misnomer for the portrayal of the secondary characters, such as Anita, whose importance was greatly reduced in this version. Myrthes Monteiro, who plays Anita, maintains a low profile, although the role is often considered the emotional centerpiece 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 impressive depth.

Musical implementation

Under the direction of Ben Glassberg, the musical performance of the Vienna Volksoper remained true to the original. Bernstein’s distinctive style, a mix of jazz, classical music and Latin American influences, was interpreted in a technically precise but emotionally restrained manner. The well-known score, which includes classics such as “Tonight” and “Maria”, only partially develops its full effect. Critics complained that the production does not fully connect the musical dynamics with the plot and emotional climaxes.

West Side Story at the Vienna Volksoper is an example of how a modern interpretation of a classic seeks to balance aesthetic tradition and innovation. The reduction to symbolic spaces and the departure from Robbins’ choreography are courageous decisions, but they are not always 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 reimagining a work that is so deeply anchored in the collective imagination while preserving the core of its impact.