Ivo van Hove, the brilliant Belgian bad boy of experimental theater, has become a Broadway hit-maker.
, something that has always made the show notoriously difficult to cast. As Bernstein recalled years after the original production, “Everybody has either to be or seem to be a teenager, to sing a very difficult score, to act a very difficult role, and dance very difficult dances.” Six decades on, van Hove and Co.
The son of an African American and Native American father and, Powell says, an “über-Caucasian” mother, the broodingly handsome, 24-year-old actor, who grew up in Greensboro, North Carolina, is lanky and boyish-looking and, despite possessing the physique of a former athlete, hasn’t quite lost the gangliness of adolescence. As he proved in the 2017 revival of, he also has a knockout singing voice and an easy romantic charm.
If Pimentel is anxious about doing justice to an iconic role on Broadway, imagine how De Keersmaeker feels. With their snapping fingers, athletic leaps, and cocky struts always on the verge of sliding into a series of chassés or erupting into violence—not to mention their unmatched gift for telling story through motion—Jerome Robbins’s dances have always been as integral a part of the show as the songs and the script.
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