Thoughts on Ivo Van Hove’s West Side Story Cuts

It has been a few days now since the news officially dropped about the cuts and revisions made for the Ivo Van Hove-helmed revival of West Side Story preparing to open on Broadway. Some of my readers have pointed out to me that I have been noticeably quiet about what some have deemed is a massacre of a classic and some feel is an innovative take. They are correct. I have been mostly silent on the topic, taking some time to process how I felt about the changes and synthesizing these changes to decide whether or not they will truly influence the integrity of the piece. In recent years I have also tended to write about history, steering away from personal opinions in the hope that what I share ignites enthusiasm about musical theatre classics instead of turning people away from them. Even if a show is dated or is not in line with the thinking of our contemporary views, I believe most older shows (even the flops) have merit and are worthy of remembering. However, enough people have reached out to me over this West Side Story debacle that I suppose I am being called upon to speak in its defense. I will share my thoughts, at risk of much criticism (and maybe not for the reasons you might think). I do not expect everyone to agree with me and hope that each of you will apply your own reason and thought to whether you want to an altered West Side Story, making (or not making) your ticket purchases accordingly. 

I should start by confessing a confession, a skeleton in the closet so to speak, one that I typically keep quiet about in the world of classic musical theatre discussion. I am not the biggest fan of West Side Story. I appreciate it. I admire it. It just is not a show that has ever spoken to me beyond a few songs that I hold dear. I am, in fact, one of those who believe that The Music Man did deserve to win the Tony Award for Best Musical in that season. I have always had a far richer experience with the denizens of River City than I have ever had with the Sharks and the Jets. That being said, I do have some passionate feelings about Van Hove’s changes.  

I guess, for the few who are in the dark over what I am talking about, I should detail the announced changes. From the beginning, we knew that Van Hove had wanted to create a West Side Story that featured choreography that did not rigidly hold to Jerome Robbins’ iconic work from the original 1957 production. We have known for quite a while that this West Side Story was going to be different. In general, I haven’t heard a lot of moaning and groaning over that reveal. But we are also well used to new choreographers putting their own stamp on musicals. Not every production of Carousel has recreated Agnes de Mille’s work on that show, nor has every revival of Company insisted on the Michael Bennett dance choices. True, Robbins’ estate has always been insistent that his work be recreated and that has always been a part of the licensing arrangement. For whatever reason, Van Hove got the powers that be to loosen those requirements, and I, for one, find it refreshing to anticipate a West Side Story with a different approach to the movement. It will be big shoes for choreographer Anne Teresa De Keersmaeker to fill, but I am hopeful that she will bring something new and inspiring with her vision, one that can stand on its out outside of Robbins’ ghost. 

Now, here is where it gets a bit dicey for me. Van Hove has also chosen to tighten up the show, directing it without intermission, excising a song or two, in an effort to build toward the climax with intensity and urgency. In theory, this could be a powerful way to do just those things, but at what cost? The fatalities here are Maria’s character song “I Feel Pretty” and the “Somewhere” Ballet. Also, the original “America” has been changed out for the movie version of the song, with the female Sharks facing off with their male counterparts. Please note that this all being done with the blessing of the creator’s estates and the additional approval of the show’s lyricist Stephen Sondheim. 

Here is where I have trouble accepting all these changes. First, and this may be partly why I have never been an ardent fan of the show, the character development in West Side Story’s is not its strongest suit. With all due respect to Arthur Laurents, I’ve never felt I’ve known too much about these characters outside of A) what the Jerome Robbins choreography told us, and B) what was revealed in the songs. Admittedly, “I Feel Pretty” is not the deepest or most character revealing song in the score, but it is one of the very few songs in the first half of the show where we learn ANYTHING about Maria. It paints her innocence, her enthusiasm , her optimism, and most importantly, sets her up as the tragic figure she will ultimately become. We need “I Feel Pretty” to contrast the expedient growing up she is forced to face by the end of the show. It’s an important contrast, and without it, she has become just an object to be had by Tony, merely turf to be fought over. We all need to know that she is so much more than that. People tend to think of this song as superfluous, when it is, in fact, one of the most important to the show for these very reasons. 

My feelings about the “Somewhere” ballet are not quite as rabid. I do think its inclusion offers another opportunity, through movement, to tell us more about Maria and Tony, their hopes and dreams, and the life they hope for when the nightmare they are living is theoretically over. Yes, some of this is accomplished with songs like “Maria” and “Tonight,” but the ballet offers us one more idealistic sequence before the story devolves into the chaos and brutality that rushes West Side Story toward its inevitable conclusion. Like “I Feel Pretty,” we need the contrast to make the tragedy work. 

The only change I do feel is confidently a smart one is the use of the film version of “America,” which has always played better for me than the stage version. It also gives a little more understanding of the Sharks (male and female) who are given very little opportunity for character development in the show, particularly the character of Bernardo who remains mostly a cipher in Laurents’ book and the Bernstein/Sondheim score. Traditionalists (and I typically am one) may not agree, but I this alteration I think works to the musical’s benefit. 

What it comes down to is this: if you are not happy with these bold alterations in a classic musical, you simply have the choice not to buy a ticket and voice your opinion on messing with the show in that fashion. My supposition is that many will choose to buy tickets anyway for an opportunity to complain afterwards. Some might be surprised and like it, while others undoubtedly will not. Just remember that some pretty bold things are being done with Mr. Sondheim’s Company (okay, in different ways) and I have heard very little complaining about the gender-bending revisions being made to that production. For me, I will most-likely pass on both. I have seen West Side Story and Company enough times that I feel satisfied I’ve enjoyed them at their best. Also, for reasons of money, I have to pick and choose what I can afford to see. These revivals may not suit my tastes and I’d rather the classics be left alone. Can I staunchly insist they remain museum pieces and hope they don’t fade into obscurity? That argument is beyond my influence as a ticket buyer unless there are enough like-minded people who also stay away from the box office. 

I don’t think that is likely to happen. 

Mark Robinson is the author of the two-volume encyclopedia The World of Musicals, The Disney Song Encyclopedia, and The Encyclopedia of Television Theme Songs. His forthcoming book, Sitcommentary: The Television Comedies That Changed America,will hit the shelves in October, 2019. Hemaintains a theater and entertainment blog at markrobinsonwrites.com.