HALF ART
CHRIS THURMAN: Old story of division gets blinding new expression
Matthew Wild’s West Side Story feels simultaneously of our time and very much of its own time, writes Chris Thurman
The stage of the Nelson Mandela Theatre at the Joburg Theatre Complex is one of the biggest in SA, and over the years, I have seen it put to extravagant use: Andrew Lloyd Webber, from his weird Starlight Express phase to his football musical phase; rock concerts; opera and ballet. It seems fair to say, however, that the depth and height of this stage has never been as adroitly exploited, or achieved such a visually startling effect, as in the production of West Side Story. It is all the more spectacular because the set design first envisioned by the late Johan Engles and executed by Conor Murphy departs from the brick-and-high-rise New York backdrop so readily associated with the show, particularly since the 1961 film version. Instead, we are in a grim, grey, nondescript urban environment that could be the setting for any gang turf war. It is out of this hopeless environment – "our mothers all are junkies, our fathers all are drunks" – that the colour, light and sound of West Side S...
Would you like to comment on this article?
Sign up (it's quick and free) or sign in now.
Please read our Comment Policy before commenting.
Subscribe now to unlock this article.
Support BusinessLIVE’s award-winning journalism for R129 per month (digital access only).
There’s never been a more important time to support independent journalism in SA. Our subscription packages now offer an ad-free experience for readers.
Cancel anytime.
Questions? Email helpdesk@businesslive.co.za or call 0860 52 52 00. Got a subscription voucher? Redeem it now.