★★★★★

Reviewed by Natasha on Tuesday 14 March

Tonight (“...tonight”) I had the privilege to watch a group of juveniles (definitely NOT delinquents!) perform their version of the award-winning musical West Side Story at Mansfield’s Palace Theatre. I’ve been attending New Youth Theatre (NYT) productions for almost a decade now and I can honestly say this is the best I have seen them as a company. The performance was outstanding in every way.

With maturity beyond their years, the ‘Senior’ company of Mansfield’s New Youth Theatre (school years 4 to 13! ) did utter justice to Stephen Sondheim’s artful lyrics, dances that referenced Jerome Robbins’ choreography, and Bernstein’s sumptuous, symphonic and syncopated songs (I Feel Pretty, Tonight, America, Maria, Somewhere, to name just a few). They strutted, rumbled and harmonised the Hell’s Kitchen out of this take on Romeo & Juliet, in which rival New York gangs the Jets and the Sharks strive for power against the backdrop of a tragic love story.

Being such a classic work, immortalised twice in film and performed extensively in the West End and on Broadway, I may not need to explain the plot. In short, it centres around the story of Puerto Rican immigrant Maria falling in love with protagonist Tony who, in seeking to distance himself from the dissent and gang fights, falls victim to the situation in more ways than one. Its themes of racial tension, gender roles, poverty, demoralised youth, gangs in conflict and police corruption resonate all too clearly with today’s audience. The play is a fascinating story with continuous action, but its length and subject matter can be tricky to do well. It’s easy to forget how much of the narrative is conveyed through movement and dance, which, combined with the competing rhythms, formidable intervals and intricate harmonies of Bernstein’s operatic score, can be a challenge for any performer, professional or amateur, experienced or beginner.

With remarkable energy, talent and confidence, however, the NYT cast propels the narrative forward at every turn, pausing only for the quieter, romantic numbers (which elicit delightful chills). From the balletic opening, with Will Matthews as a commanding and wonderfully menacing Riff, summoning the Jets onstage, the set comes to life with sensational vocal talent, acting prowess and expressive dancing (choreographed by Deborah Foulkes). It’s almost impossible to believe this show was put together in just ten weeks of Saturday afternoon rehearsals. Credit is due to the commitment of the cast, producer Neil Butler and director/musical director Vicky Butler for weaving together the plentiful constituent elements into a cohesive production.

The show is also well cast, drawing both on its regular principals and showcasing other members with future potential. Last seen together as Glinda and Elphaba in NYT’s production of Wicked The Musical, the show’s female leads interact seamlessly, with Connie Brown’s Maria’s pure soprano notes and angelic poise complementing a feisty and vocally vibrant Anita, played by Imogen Croasdale (who notably sheds her character’s sassiness as tragedy befalls her lover). In contrast to Harrison West’s dynamic and assured Bernardo, Kole Darby gives us a vulnerable, idealistic take on Tony, conveying the emotion and delight of a man transformed by love. The minimalist set both allows the performers to use the majority of the stage to great effect, and locates the famous balcony central to the action, near enough to the audience to make our goose bumps palpable as Tony and Maria sing their gorgeous duets.

The increasingly improving ensemble is crucial to the show, and also balances the intense, darker moments with breakthrough comedic talent in songs such as Officer Krupke (by Charlie Stone’s Action) and Dance at the Gym (Joshua Preston’s Gladhand). The in-between Anybody’s, always on the outside until they take on a new importance, stands out with Faith Lilliman in the role; Poppy Holloway, as Riff’s girlfriend Velma, showcases fantastic dance skills; Nyah Harvey’s vocals shine in America; Surann James impresses as a conflicted Baby John. The harmonic quintet of Tonight, for me the musical peak of the show, demonstrates the musical talent of principals and ensemble in tandem. Although arguably the experience might be enhanced by a live rather than a pre-recorded orchestra, the absolute mastery of libretto and score, stage combat and choreography, coupled with the exuberant ensemble numbers and gorgeous cast harmonies, means that this production exceeded even my expectations. Absolutely remarkable.

New Youth Theatre’s Senior and Junior Groups both perform 3 musicals per year in local theatres. Next term’s shows will be Through The Looking Glass (Mansfield Palace Theatre) and My Son Pinocchio (Arnold Bonington Theatre).

See https://www.newyouththeatre.co.uk/mansfield/ and https://www.newyouththeatre.co.uk/nottingham/ for further details.

Image copyright Jason Parnell Photography https://www.jasonparnellphotography.co.uk