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Diesel, Action, and A-Rab have such refined senses of irony and theatricality that they can slip comfortably into the role-playing of “Gee, Officer Krupke” to mock the psychiatrists and social workers who try to explain their delinquency in sociological terms.
Can we really believe that a punk like Diesel would have the vocabulary to say “This boy don’t need a judge, he needs an analyst’s care!
True, in the 1961 movie version of , Maria sang the word “gay.” But in the original Broadway production, Carol Lawrence (as Maria) was indeed “pretty, and witty, and bright!
Judas fears Jesus has gone too far; Simon Zealotes (a zealot) says not far enough (“add a touch of hate at Rome”).
(The young actor is also assigned the singing of “Somewhere.”) A final note: our antennae went up when we heard Maria sing, “I feel pretty, and witty, and bright!
” Wasn’t the lyric “I feel pretty, and witty, and gay”?
We thought perhaps the gay rights forces had so co-opted the word “gay” that the politically correct management at the Stratford Festival felt compelled to change the lyrics of the Bernstein/Sondheim song.
Post-play research on Rhapsody disclosed, however, that just this once we were wrong.
Much of the story flows through the songs and the action, so serious acting chops aren’t really required.
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(We’re not sure whether a dance sequence is usual during the overture, but we were mesmerized.) And has there ever been more sophisticated music composed for a popular musical play?
Such glorious songs, including one of the most perfect melodies ever conceived (“Somewhere”).