Considered by many to be one of the best American musicals ever written, a new version of West Side Storyplayed in Milwaukee as part of the Time Warner Cable Broadway at the Marcus Center series. This is the national tour based on the 2009 revival, which played more performances on Broadway than the original or any other revivals that followed it.
It is clear to see why this story, created by Jerome Robbins as a contemporary update of Romeo and Juliet, connects with audiences a half-century after its debut. It is still first and foremost a dance show, and the universal language of dance continues to draw audiences into the story. The look, feel and pacing of West Side Story is distinctive from the first few notes of the score, and the first few finger snaps of the Jets, one of two gangs that “rumble” over their gritty territory, a poor neighborhood in New York. The other gang, consisting of boys from Puerto Rico, is the Sharks.
In ways that are sometimes subtle and sometimes blatant, this production makes it clear that many of the Puerto Ricans are not thrilled to be on the US mainland. It is easy to see why. The mean-spirited police taunt the “P.R.s,” even as the Jets bust a few heads to prove their “ownership” of the area. It is clear that the newcomers are not getting a very warm welcome to their new home.
Without knocking the beautiful 1961 film, starring Natalie Wood, Rita Moreno and Richard Beymer, the stage show of West Side Story thrills in a way that film cannot capture.
It is almost impossible to imagine love blooming in such a dismal setting, but love is a key element of West Side Story’s success. The young lovers are Ross Lekites as Tony, the ex-leader of the Jets, and Evy Ortiz as Maria. Tony seems only half awake until he walks into the school dance and sees Maria. Without a word, they slowly walk up to each other and start dancing. It is a beautifully quiet break from the frenetic dancing that starts the dance.
Lekites is at once more mature and less animated than his former gang members. It’s clear that he has moved on from what the Jets once gave him – a strong sense of identity. And when it’s time to rumble, Tony is the one who begs the gangs to quit – and then, impulsively, makes a move that puts his own life in jeopardy. The petite, innocent Maria cannot help but rush into Tony’s arms as her port in a storm.
All the voices do justice to the incredible score, which mixes many different musical styles. The most obvious change in this 2009 re-telling is the infusion of Spanish into the scenes when the Puerto Ricans are alone. Even songs that have become standards, such as “I Feel Pretty,” revert to Spanish after the first few bars. The greater reliance on Spanish makes the show feel more authentic, although non-Spanish speaking audiences may have trouble following the gist of each song.
In addition to the ill-fated lovers, the cast requires a strong, sexy and buoyant Anita, and it finds one in Michelle Aravena. She brings down the house with the ever-popular, “America,” accompanied by her fine “Puerto Rican” girlfriends. Another standout is Drew Foster as Riff, the current leader of the Jets. His superior dance moves are evident in a show where everyone must dance like a dream. Although he temporarily tones down the energy in “Cool,” he is more than ready to strike back when the opportunity presents itself.
The Jets and Sharks aren’t just play-acting; they demonstrate that they can let their youthful energy burst loose on the gym dance floor or in a fight. This production makes it clear that these are very dangerous kids, liable to explode when provoked. It heightens the show’s tension, making Tony and Maria’s escape all but impossible.
Technical elements enhance the show’s gritty environment, from the ramshackle tenements and towering bridge overpass by designer James Youmans to the eerie twilight provided by lighting designer Howell Binkley. The costumes seem authentic to the time period. The “dress up” outfits worn to the school dress and the Puerto Rican girls’ full, rustling skirts, also seen to advantage in “America,” seem right on the money.
