Thrilled to announce that our client, David L Newman has signed on to conduct, arrange and underscore Steven Spielberg's musical remake of West Side Story! Way to go, David!
Wow, crazy! I'm happy to see D. Newman associated with such a high profile project. I hope it translates to more work for him on quality pictures.
I assume he'll largely be adapting the Leonard Bernstein music. It's sad that this will be the third Spielberg project that John Williams will have missed in the last five years, but all three of the pinch-hitters who have come in have been top notch.
It's seems I'm one of the few here who welcomes the idea of this new version of the musical. I'm also very pleased to see Newman doing this. He's incredibly solid, and has spent too long doing mostly crummy movies. Also, given what I have to assume will be almost all adaptation, I'm glad Williams is spending his time on other things at this point.
I saw John Williams at the Hollywood Bowl this past summer, with David Newman conducting the first half of the concert before Williams came out. The only non-Williams pieces Newman conducted that evening were a piece from Bernstein's "On the Waterfront" and a suite from "West Side Story."
I never thought I'd say this but I'm with Schiffy on this, if for a different reason. I am not generally for a film redux but in some instances, it works. No one adores that 1961 classic more than I. My hope for this one is that younger people will view the new version, love it and will seek out the original. That will be my measure of success. I have seen this occur with films viewed by my kids and their friends.
Learning that David Newman is attached to the film is wonderful to hear. The Newman name is classic and I am anxious to hear what he creates.
I think David Newman should have gone home with an Oscar the last time he adapted songs and supplied score to a musical (ANASTASIA). If his work on this one is half as good, I'll be happy.
Interesting choice. Would have preferred Williams, with his direct WEST SIDE STORY connection, but not a bad alternative. But the statement is a bit confusing. Will Newman provide new underscore, or will he mix it with the existing Bernstein score?
I'm sure that the film will be fine musically. What I'm worried about is how the dancing will be handled. Jerome Robbins' choreography is an essential plot element in the show. I hope Spielberg doesn't go for the "music video" style where the "dancers" are mostly seen from the waist up and waving their arms around. I hated the film version of CHICAGO because the director chose stars who couldn't dance, and Bob Fosse's choreography had to be scrapped.
I would agree if I thought the Wise film was perfection. There are many great things about it, but it also seems incredibly sanitized now, with gangs dancing in colorful windbreakers while spray-painting “Sharks Stink!” on brick walls (how rude!).
If the source material is strong, why shouldn’t there be a new "West Side Story," just as there should be a new "Hamlet" or "A Star is Born"?
I never liked the Tony in the original. And some actors/actresses were dubbed, which I never like. And I'm with Schiffy in being open to a new interpretation. But I think one thing is for certain...whoever is stepping into Rita Moreno's shoes as Anita is going to have a lot to live up to.
I would agree if I thought the Wise film was perfection. There are many great things about it, but it also seems incredibly sanitized now, with gangs dancing in colorful windbreakers while spray-painting “Sharks Stink!” on brick walls (how rude!).
If the source material is strong, why shouldn’t there be a new "West Side Story," just as there should be a new "Hamlet" or "A Star is Born"?
I've read many time that the original creators of the musical being none too pleased with the original film. I've not seen the musical on stage myself, but I'm given to understand its current incarnation reflected an overhaul supervised by the original producer - he oversaw it while in his 90s! - and the tone of the piece has been made to be a bit more hard-hitting that was possible in the era of its original creation.
This is one case where, whatever your feelings about the original, an updated interpretation is perfectly justified.
I wonder if John Mauceri is also involved in this project, in some capacity. Anyone reading his book will know that his personal orchestrating and conducting relationship with Bernstein gave him a first-hand and special understanding of Bernstein's performance requirements in this and other works.
