BWW Reviews: WEST SIDE STORY National Tour at Bushnell Has it Both Ways

West Side Story National Tour
Music by Leonard Bernstein
Lyrics by Stephen Sondheim
Choreography by Jerome Robbins and Peter Gennaro
Book and Direction by Arthur Laurents
at The Bushnell Center for the Performing Arts in Hartford, CT through May 29.
www.bushnell.org

A graffiti-scrawled scrim bearing the iconic names of the Sharks and Jets rises on a barren urban streetscape. Before we hear a sound, we are approached by Riff, the leader of the Jets. Calling his fellow hoodlums to action during the rousing Prologue, we meet a reenvisioned gang. The Jets are no longer Brilliantined and immaculately combed, but instead dangerously tousled and moussed. Tight and bright gang colors have been replaced with soiled Abercrombie & Fitch gangwear, cuts and bruises. Welcome to "a West Side Story for the twenty-first century" (to quote the new touring production's press kit), directed by the classic musical's original book writer, the late Arthur Laurents.

And therein lies the promise and the trouble with the national tour of Laurents' 2009 Broadway remount (playing now through Sunday, May 29th at The Bushnell Center for the Performing Arts in Hartford, CT) - it tries to have it both ways without completely succeeding or disappointing on either count. In retaining the original score and orchestrations by Leonard Bernstein, choreography by Jerome Robbins and Peter Gennaro (terrifically reproduced by Joey McKneely) with only modest changes to Laurents' own book, we are essentially treated to what could be a wonderful reproduction of the 1957 West Side Story.

This, in and of itself, would not be a bad thing. Bernstein's score is still a propulsive and romantic wonder. Robbins and Gennaro's balletic and athletic choreography still stuns. And Stephen Sondheim's lyrics and Laurents' book remain indelible, even when a small portion of them are translated into Spanish (with assistance from In the Heights' creator Lin-Manuel Miranda) and occasionally embellished with more sexual gesticulation. As an evening spent reintroducing ourselves with the Sharks, the Jets and the two star-crossed lovers, this revival delivers.

The difficulty arrives with the then-nonagenarian Laurents' decision to move away from a traditional remount of West Side Story in favor of a more "authentic experience." This is accomplished by making the gangs look equal parts contemporary and 1950s hoods , making the acting seem more gritty (mainly by amping the sexuality) and changing approximately 12% of the script to Spanish. The brave and exciting choice of authenticating the Sharks' Puerto Rican heritage by injecting Spanish into the proceedings immediately is subdued by the near-constant retreat to English. Two songs - "I Feel Pretty" and "I Have a Love" - are 50/50 English-Spanish. To be sure, an assimilated Puerto Rican immigrant may struggle with their English or utilize a Spanglish blending of the languages. What the translation delivers is a this-line-in-English-that-line-in-Spanish approach.

Not trusting the audience to forgive or enjoy much more Spanish, we end up with a more fearful approach unworthy of the Sharks (or, in the case of these two songs, their girls). In a 21st century Hartford, where the majority population of the city is Latino, this seems a missed opportunity. Ultimately, this production is not playing to the streets, it was groomed for Broadway and Broadway touring houses filled with a country that still wrestles with the fear of foreign cultures crossing its borders (even though, to quote one of Sondheim's more incisive lyrics in the show, "nobody knows in America that Puerto Rico's in America").

Knowing that the birth of West Side Story heralded the arrival of a shocking new youth culture on Broadway, it is a shame that the desire to make this production more "authentic" doesn't push things further with more Spanish (perhaps utilizing supertitles for those unfamiliar with the play or afraid of a foreign language) or greater racial diversity among the gangs. If this revival is truly for the twenty-first century, how about messing with the racial or ethnic composition of the gangs, injecting new sounds into the orchestrations, introducing hip-hop choreography as the current movement on the street? Ultimately, Arthur Laurents was not the man who would or could make this happen and this revival ends up running more toward the past than to the present or future.

As to the performances, credit must be given to the indefatigable Shark and Jet ensembles, male and female. Their leaders, Riff (portrayed by Joseph J. Simeone) and Bernardo (German Santiago), excellently capture the menace of the streets. Unfortunately, the usually scene-stealing role of Anita is underserved by Michelle Aravena. Although a wonderful vocalist and dancer, Aravena captures little of the humor and sensuality that makes this character an audience favorite and an award-winning role for Chita Rivera, Rita Moreno and Karen Olivo.

As for the star-crossed lovers, Maria and Tony, the results remain star-crossed. Kyle Harris' Tony initially starts the show with a slightly underwhelming "Something's Coming" and an oddly-sung "Maria." Neither song, designed to show how Tony has fundamentally moved past his life on the streets to embrace something purer, really takes flight. Once in his Maria's arms, however, his performance rebounds greatly, especially in the balcony scene and "One Hand, One Heart." This is due in no small part to this production's greatest asset, the beguiling Ali Ewoldt. With a soaring soprano and a winning stage presence, you cannot take your eyes (or ears) off Ewoldt. Any production of West Side Story that finds you glued to Maria instead of Anita is one for the books.

 

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