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.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.
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).Videos