Catch An Icon As WEST SIDE STORY Arrives at the Ohio Theatre Thru 4/22

I’ll admit that I have mixed feelings about Broadway revivals as a general rule. I really love the innovation of new productions and feel that too often, classics re-made fall short of their iconic originals, or to quote my grandfather, “Do it right, do it well, and move on.” However, when the national touring production of WEST SIDE STORY made its way to the OHIO THEATER last night, I embraced the opportunity to re-visit this 1957 Arthur Laurents’ adaptation of Shakespeare’s “ROMEO AND JULIET” and experience the delight of what is truly timeless about classic musical theater.

The set is alarmingly simple- rarely more than one or two pieces on stage for a scene- which helps to focus attention immediately on the characters, as the Puerto Rican street gang, The Sharks, engages in a turf war with the opposing gang, the blue collar, white, Jets in 1950’s New York City. Drew Foster, as Riff, not only has a great voice, but has perfected the calm, cool demeanor of the Jet’s leader. The “Jet Song” was a great lead off number, showcasing the dancing finesse of the entire Jet ensemble, while giving a glimpse at each of their individual personalities. Following this number, Riff then sets off to seek out former Jet member, Tony, played by Ross Lekites, to help fight against the Shark’s leader, Bernardo, played by Waldemar Quinoes-Villanueva, in an effort to gain control of the neighborhood once and for all.

Loyal to his longtime friend, Tony agrees to Riff’s request that he attend the dance where the rumble between the two gangs is set to take place. However, the optimistic, “Something’s Coming” sung flawlessly by Lekites, portrays Tony’s hope that that evening might bring something bigger. In these opening scenes, Lekites’ Tony has an air of excitement, an undertone of unfulfilled ambition, that immediately makes him a likable “boy next door” whom you can’t help but want to watch.

During “Dance at the Gym”, Wally Dunn’s quite funny Drew Carey-ish Glad Hand tries desperately to make peace between the two gangs of teens. In perhaps one of the best dance numbers of the night, Waldemar Quinoes-Villanueva’s Bernardo and his girlfriend, Anita, played by Michelle Aravena square off against the Jet’s Riff and his girlfriend, Graziella, played by the Kirstin Tucker. While these two pairs ignite the stage with dancing that would make Jerome Robbins proud, the entire Shark/Jet cast is magnificent in this dance-off. Tony meeting Evy Ortiz’s Maria is almost an afterthought to these scenes as I really just wanted to keep watching the dancing! When the innocent little sister of Shark leader, Bernardo falls for the Jet-on-the fence, Tony, I expected fireworks, but while Lekites and Ortiz pulled off a fair amount of lust, there was a certain emotional depth missing that would be expected of star-crossed lovers. Their relationship played throughout more like a fast-paced one night stand than a love worth losing your life over. That being said, Lekites’ “Maria” was vocally beautiful. When it came through, his portrayal of the headiness of a first love, lent a giddy excitement to Tony that made his relationship with Maria plausible and his character compelling. Unfortunately, Lekites and Ortiz together never captivated me, but perhaps my love of Natalie Wood and Richard Beymer in the 1961 film version clouded my objectivity a bit. When acting, Evy Ortiz’s Maria had a wonderful youthful innocence to match her beautiful voice, but on iconic songs like, “Tonight” and “I Feel Pretty”, she was terribly somber, often appearing as if she was so intent on singing that she “forgot’ to act momentarily, and then slipping back into character. I was never really able to get invested in Maria and Tony as a couple, which made the rest of the plot a lot less heart-felt as well.

Michelle Aravena’s Anita was simply superb, stealing nearly every scene she was in, and delivering an absolutely enchanting version of “America” with Gizel Jimenez’s Rosalita countering. Aravena’s saucy Anita and Quinoes-Villanueva’s Bernardo were electric together, a complete delight to watch. Back at Doc’s Drugstore, the Jet boys, led by Foster’s Riff try to be “Cool” in anticipation of the big turf-war brewing. Jon Drake as hothead Action, Clay Thompson as A-Rab, Christopher Rice as Baby John, Nathan Keen as Big Deal, Casey Garvin as Diesel, and Harris Milgrim as Snowboy all create characters who show glimpses of who they are as individuals, but have clearly become their own band of brothers as Jets.

The next day, Tony meets his love, Maria at the bridal shop where she works, and they get caught up in the bridal attirEd Mannequins around them enough to dream of their own wedding in, “One Hand, One Heart”. Ortiz’s Maria is beautiful, and vocally delightful, but waffles emotionally again, making her character hard to connect to. All in the name of love, upon Maria’s request, Leskites’ Tony sets off to stop the two gangs from fighting. The final scene of Act I, the much-anticipated rumble, takes place through a floor to ceiling chain link fence, a dramatic set change, which adds to the suspense of the scene. The rumble commences, and Tony arrives. Bernardo stabs and kills a distracted Riff who looks away at Tony when he attempts to break up the fight. When a distraught Tony Then kills Bernardo, he is left standing in shock over what he has done. Alexandra Frohlinger as wannabe Jet tomboy Anybodys, saves Tony from being caught by the police as he anguishes over best friend Riff’s dead body.

Act II opens with a way-too-much-in-Spanish version of “I Feel Pretty” for the song to be appreciated as the well-loved classic it is, and the limited set of a bed and a doorway for Maria’s room left nothing to enhance upon, unfortunately. Quiones-Villanueva’s energy is clearly missing from this act long before Tony arrives at a devastated Maria’s bedroom window, asking her forgiveness for accidentally killing Bernardo and vowing his love for her will overcome everything. Again, without the depth of their relationship apparent, this scene just played as awkward and bland. Small, but mighty powerhouse Alexandra Frohlinger saves the day with a lovely rendition of “Somewhere”, conveying the message of hope that all of the turmoil of the current rivalry could be left behind and that Maria and Tony’s ill-fated relationship could still survive. Act II is also highlighted by Aravena’s grief stricken “A Boy Like That/I Have a Love”, followed by the brutality of the drugstore scene in which Anita is nearly raped by the vengeful Jets, until Doc intervenes. As the conflict spirals downward,Chinoexacts his revenge by shooting Tony, and it is Maria who unites the two gangs in her own grief.

Overall, the musical hasn’t changed much from its original form- the choreography is breathtaking, and the orchestra is phenomenal on a score that is clearly superb enough to withstand the test of time. The additions of increased vulgarity and way too much grabbing of private parts- “Officer Krupke” particularly- and a large amount of dialogue and lyrics in Spanish, seemed an attempt to “update” a rivalry where the deciding of weapons to fight with begins at rubber hoses and baseball bats, and terms like, “Golly Gee” and “hoodlum” are interspersed. I found these were unnecessary and really, the only off-putting parts of the revival of this classic from its original form. Even after being dusted off from over 50 years ago, WEST SIDE STORY remains an iconic piece of musical theater history, and a must-see production for all musical theater lovers. In its “modern” form, great vocals, flawless choreography, and a solid ensemble make this revival one worth revisiting.

PHOTO CREDIT: Carol Rosegg 2011

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