Review: The Fireside Takes On WEST SIDE STORY

It's Romeo and Juliet with dancing, knives, and a taste for Americana.

West Side Story, the nearly 60 year old Broadway musical, is deeply rooted in the musical theatre canon. A tale of two young lovers, separated by opposing street gangs explores dated (though still incredibly relevant) social stigmas outlined by ethnicity and socioeconomic status. The show is well known, beloved, and has several incredibly memorable musical numbers. So when a theatre company takes on this particular production, they also take on the reputation that precedes it - which is often more of a challenge than the show itself.

The Fireside Theater is known for taking massive shows and packing them into their cozy space. Last year's production of Les Miserablés is a fine example of such compacting. It seems nearly impossible prior to curtain, but the moment the cast takes the stage, magic begins. Skepticism of how a production like West Side Story, filled to the brim with intricate dance routines, could possibly work in a petite playhouse is one of the reasons Fireside's latest production is so successful - its payoff drastically outweighs the predetermined uncertainty.

These routines, expertly reproduced by choreographer Kate Swan, practically transform the playing space into a stage quadruple the size. Dancers are packed so close together that it's almost miraculous that they don't hit one another in the process. "America", in particular, stood out for use of the space. Although the routines are significantly smaller in this song than in the "Somewhere Ballet", the strength of the performers sashayed across the floor in a blur of red taffeta.

Then again, the Shark Girls were consistently scene stealers in this production. "America" was merely a highlight of what these ladies had to offer. Anita in particular, played by an immeasurably charming Arianna Rosario, kept the song moving with her articulate vocal quality. Although West Side Story can be kitschy, the show hits upon some darker themes and this song lightens the mood.

Julia Suriano as Maria exudes the sweet naiveté expected of her character. Bereft of any wrongdoing in the action of the show, she clings to her Tony (Herb Porter). Maria and Anita are the characters audiences ache for - the ones with the deepest pain and the inability to sway the decisions of the men they love. Suriano and Rosario's connection to one another brings empathy into the production. With the pastel costumes and upbeat dance numbers, the moments of heartbreak hit even harder thanks to these two.

Porter also offers a nuanced Tony which gives his performance more power. Tony can sometimes be played with too much heroic gusto, but Porter preserves his humanity. This subtle distinction is likely a nod to both Porter's instincts and some guidance by director Ed Flesch. One aspect of the role is Porter's gentility which keeps his romance with Suriano's Maria believable because neither overwhelms the other. They simply try to live out their archetypal whirlwind romance.

West Side Story is a classic. It can be cheesy, over the top, and slightly odd at times, but it's still one of those shows that even the stodgiest of theatre goers shyly admits to enjoying.

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