Review: Candlelight's WEST SIDE STORY Returns to a Traditional Mounting

West Side Story/book by Arthur Laurents/music by Leonard Bernstein; lyrics by Stephen Sondheim/directed & choreographed by Hector Guerrero/Candlelight Pavilion Dinner Theatre/through November 22

Ask musical actors/actresses for their choice of favorite Broadway musical of all time and they most often concur, West Side Story. Why? It has phenomenal music by Leonard Bernstein, with concise poetic lyrics by Stephen Sondheim and a tight and gripping book by Arthur Laurents, and brilliant choreography established in 1957 by Jerome Robbins. It is one of the most powerful love stories ever, next to Romeo and Juliet. With all these elements complementing one another, from the first downbeat of the orchestra and the appearance of the Jets creeping in one by one on a half-lit stage, the show pulls you in and doesn't let go of you for its two and a half hours ... and its message and images of love linger long after.

Arthur Laurents' revival in 2009 was certainly more realistic than others. First, the score was sung with some lyrics in English and some in Spanish. Also, more Spanish was spoken within the dialogue of the scenes. Sondheim gave his approval for this to draw contemporary Hispanic audiences to the show, and it makes sense, for Puerto Ricans arriving in the US still spoke Spanish. Also, the ending of this revival is less theatrical, as the opposing gangs do not carry Tony's body off. It would never be allowed in a modern CSI (Crime Scene Investigation). Without that overpowering piece of staging to conclude, it is left solely to the power of Maria's riveting speech against violence to encourage hope for any possible reconciliation between the warring gangs. Many argued against this version particularly because the ending showing hope for the future in a total sense of community was dimmed.

Thankfully the current production at Candlelight Pavilion in Claremont is the original, traditional staging with the theatrical ending in tact. The ensemble, under the sturdy direction of Hector Guerrero, is quite remarkable. It is such a joy to see such young triple threats throughout the ensemble, in which there are no weak links. If these guys aren't dancer dancers, they sure could fool me with their unbounded energy and athletic jumps.

Ayme Olivo and Jarred Barnard as Maria and Tony set the stage on fire with their passionate love. Olivo has a beautiful vocal instrument; Barnard has the sweet nature of Richard Beymer who layed the role on film. Both are dynamite actors/singers. Celeste Lanuza makes Anita earthy, feisty, and humane. Chaz Feuerstine is pure electricity as Riff, and Juan Caballer is macho and sensual as Bernardo. Josh Switzer as Action, Lacey Beegun as Anybodys, Michael Gonzalez as Chino and the other Sharks and Jets are incredible, as are the adults: Jamie Snyder as Doc, John Lynd as Lt. Schrank, and Jim Marbury as Krupke.

Guerrero's choreography, especially the dance mix in the gymnasium and the rumble are superlative. Mitch Gill's dark scenic design is riveting. I love how the bridal shop, Doc's pharmacy and Maria's bedroom all open out when necessary for a full view. This entire show is Class A Number One. It is a perfect representation for both fans of the stage version and for those first-timers, familiar only with the ten time Academy Award-winning 1961 film. Don't miss it!

As always, the food and service at Candlelight are also Class A Number One. $6 drink specials for this show are a delicious Cool Mule topped off with ginger beer and lime, a Sharks Martini and a luscious cinnamon-tasting coffee called Jets Brew.

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