BWW Reviews: Energetic WEST SIDE STORY Revival Wows in L.A.

Much like digitally-enhanced re-releases of classic films on Blu-ray, the latest Broadway stage revival of WEST SIDE STORY—its touring version is currently taking up residence at the Pantages Theatre in Hollywood for an extended engagement through January 2—truly excels with its fresh new 21st-Century coat of theatrical paint. This moving, energetic reboot directed by David Saint (under close supervision by original book author and director Arthur Laurents) is so much more grounded in reality than ever before, creating a vivid and altogether riveting production of one of musical theater's iconic classics.

Armed with current sensibilities that earlier versions could only lightly tap, this revival forces its raw, visceral powers of emotion to take center stage, personified by the kinetic movements conceived by original choreographer Jerome Robbins (lovingly recreated here by Joey McKneely) through its excellent age-appropriate ensemble cast. And, of course, the entire show is enveloped by a rich musical tapestry masterminded by genuises Leonard Bernstein and Stephen Sondheim. To this day, many if not all of the show's song selections are still beautiful, memorable compositions in the musical theater oeuvre: from the gorgeousness of "Somewhere," "Tonight" and "One Hand, One Heart" to the fun and frivolity of "America" and "I Feel Pretty." Each incredible piece of music—even ones that don't feature Sondheim's brilliant wordplay—will have you humming with glee.

A loose, musicalized adaptation of the classic Romeo and Juliet paradigm, WEST SIDE STORY presents a contemporary, stylized portrait of two opposing teenage factions in the Upper West Side enclave of New York City, circa mid-20th Century. There are the Jets, a hodge-podge collection of wisecracking misfits borne from European immigrants, led by charismatic leader Riff (the excellent Joseph J. Simeone). Their chief rivals, besides the local cops tailing their every move, are the Sharks, the local Puerto Rican gang under the direction of old-world stalwart Bernardo (German Santiago). Both gangs want control of the neighborhood, driven by each others' hatred. Extending the racism issues touched on by SOUTH PACIFIC, this musical ups the ante even further, with racial epithets flying freely with no abandon.

Caught in the middle of the turf war is Bernardo's newly-arrived younger sister Maria (Ali Ewoldt), who works at the local bridal dress shop with Bernardo's vivacious girlfriend Anita (the terrific Michelle Aravena). During the high school dance, Maria catches the eye of a handsome young stranger across the crowded room. The young boy is Tony (Kyle Harris), Riff's best friend and a former (reformed?) member of the Jets. Though still "womb-to-tomb" loyal to Riff, Tony has since abandoned his affiliation with the Jets, instead donning a more "responsible" lifestyle as a sales clerk at a neighborhood store owned by Doc (John O' Creagh). Bernardo is, of course, livid when he catches Tony and Maria sharing a kiss, vowing to beat the crap out of him.

As tensions increase all around, Tony and Maria's instant romance is interrupted by talk of a war council between the rival gangs. As Tony and Maria begin their rapid courtship in secret (their youth and naïvete bursting with sky-high joy), Anita tries her best to both placate and warn Maria about taking on such dangerous behavior. Meanwhile, in a well-meaning but ultimately foolish effort to minimize injuries and damages, Tony convinces both sides to settle their beef with a one-on-one, mano-a-mano "fair" fight between just the two strongest boys in each gang—without the aid of weapons. To avoid detection by jerky, openly-racist Officer Krupke (Mike Boland), the gangs meet for a rumble under the highway.

A masterpiece of story, music, dance, style and execution, WEST SIDE STORY remains a benchmark in the history of musical theater, where all the elements combine to make an intelligent, superb entity. This new revival lovingly recreates all the great elements in the original show, but twists them in such a way that makes it feel freshly reborn for modern sensibilities. It's still altogether beautiful—from the orchestrations and singing, to the hypnotic dancing and depth-defying movements—but, yet, is a bit grittier than previous productions, as it strives to inject the fantastical show with a bit more pathos and realism. As the set switches over to its under-the-highway setting for the gang rumble that closes the first act, it's quite an eerie, foreboding sight. Akin to watching a cagefight between unruly animals, the audience is separated from the action by a floor-to-ceiling chain link fence.

The show's characters also find specks of a new attitude that's thoroughly modern: snark. Snarkiness—a by-product of today's blog-everything, tweet-everything environment—even makes its way into the delivery of dialogue and lyrics, helping to refresh both classic numbers and dramatic scenes. Both acts close with a quietly somber snapshot that reminds the audience that real danger exists in such stories, and this revival displays it with grace and thoughtfulness. (Continues on Page 2)

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One of the show's most obvious alterations to its sacred text, though, is also its most polarizing: its inclusion of Spanish-spoken and Spanish-sung moments. Tasked with making the approved translations in the revival is none other than Lin-Manuel Miranda, the theater wünderkind behind the hit IN THE HEIGHTS and whose work here is beautifully seamless—as if revealing a buried treasure newly discovered.
 
While some will argue that this language revision taints the show's original version—by essentially making parts incomprehensible to portions of the audience—I believe it's a masterful decision, that, again, drives the show closer into the realm of realism. Despite the (slight) language barrier, it's safe to assume that enough people can surmise what's being said and what's being sung without the pesky aid of subtitles.

So, in a song such as "Un Hombre Así" (more popularly known as "A Boy Like That") one doesn't need a translator to feel the characters' heartbreaking, emotional tug-of-war. The actors are skilled enough to break through with the art of face and body language. It should be noted, though, that the tour now incorporates a compromise with this issue: unlike the revival's first months in production (where most of the Shark-centric songs were fully in Spanish), many songs and conversations in the touring version frequently toggle back and forth more with a mixture of English and Spanish sentences to help bridge the gap between old and new.

It is also nice to see a production (outside of regional and high-school theaters) that utilizes an age-appropriate cast populated by actors who truly look the part. And this cast more than delivers, with each athletic leap and each boisterous crescendo. The amazing talented Ewoldt has a beautiful soprano voice truly ascends the theater, a superb contrast to Aravena's strong, vibrant alto register. Both women are captivating in their roles, often stealing the show. It's also worth noting how much Aravena (at least while playing Anita) looks so much like the spitting image of Rita Moreno.

Other wonderful performances include Simeone who turns in a riveting, noteworthy performance as Riff; the subtle but still intimidating Santiago doing his take on Bernardo; Drew Foster providing a new, refreshing take on Action; and androgynous, pint-sized Alexandra Frohlinger is both funny and moving throughout the show, and does a great job in her solo in "Somewhere." Also a nice surprise: explosive dancer Neil Haskell (from So You Think You Can Dance fame and 9 to 5: The Musical) recently joined the cast as Snowboy.

In the central role of Tony, the adorable Harris feels, however, a bit slightly miscast. Though he does a nicely understated "Something's Coming" which will undoubtedly endear him to the audience from the start, there's a timidness to him that previous Tony portraits didn't display (at least as overtly here), an apprehension which also comes out when he's singing in his upper register. While he certainly ultimately pulls off the deeper machinations of the character (essentially, a young, foolish, lovestruck kid), there is something missing... perhaps a slight adjustment can bring out a more palpable self-assuredness or a bolder sense of valiant confidence.

Overall, this high-energy WEST SIDE STORY revival is as powerful as the original, yet feels refreshed. It's a beautifully balanced success that straddles honorable homage with authentic, modern sensibilities. You'll be wowed by the athleticism in the dances and moved by the gorgeous harmonies and musical artistry. If your only reference for the show is its equally incredible 1961 Academy Award-winning film version, you will truly be awed by seeing it dramatized on stage—seeing all that raw emotion and innovative choreography live. In a strange coincidence, both the New York and, this, the Los Angeles productions are closing on the same day, January 2, 2011. Luckily, the rest of the country will still get to experience this masterpiece when the tour moves on after this extended L.A. engagement. Do yourselves a favor and see this important, iconic show.

Photos by Joan Marcus. Top Main: Ali Ewoldt (Maria) and Kyle Harris (Tony).
Set-Top: Joseph J. Simeone (Riff), Harris and German Santiago (Bernardo).
Middle: The Jets keeping "Cool." Bottom: Michelle Aravena (Anita) and Ewoldt.

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Performances of the National Tour of WEST SIDE STORY at Pantages Theatre continue through January 2, 2011 and are scheduled Tuesday through Friday at 8pm, Saturdays at 2pm and 8pm, and Sundays at 1pm and 6:30pm.

Tony Award-winning librettist Arthur Laurents' Broadway direction will be recreated for the tour by David Saint, the Associate Director on Broadway. The original Jerome Robbins choreography is reproduced by Tony Award-nominee Joey McKneely. WEST SIDE STORY is produced by Kevin McCollum, James L. Nederlander, Jeffrey Seller with Terry Allen Kramer, Sander Jacobs, Roy Furman / Jill Furman Willis, Freddy DeMann, Robyn Goodman / Walt Grossman, Hal Luftig, Roy Miller, The Weinstein Company and Broadway Across America.

WEST SIDE STORY is written by three theatrical luminaries: two-time Tony Award winner Arthur Laurents (book) and multiple Tony and Grammy Award winners Leonard Bernstein (music) and Stephen Sondheim (lyrics) in his Broadway debut. WEST SIDE STORY features scenic designs by James Youmans, costumes by Tony Award nominee David C. Woolard, lighting by Tony Award winner Howell Binkley, and sound design by Tony Award nominee Dan Moses Schreier.

Ticket prices start at $25 and can be purchased online at www.BroadwayLA.org, by phone at 1-800-982-ARTS(2787) or in person at the Pantages box office (opens daily at 10am) and all Ticketmaster outlets.

The Pantages Theatre is located at 6233 Hollywood Boulevard, just east of Vine Street.

For more information, please visit www.broadwayla.org or WEST SIDE STORY's official site at www.BroadwayWestSideStory.com.

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