Review: Eight O'Clock Theatre's WEST SIDE STORY at the Largo Cultural Center

If you want ticket sales, then there are several go-to musicals that will guarantee an audience: Annie, The Sound of Music, Beauty and the Beast and Les Miserables. You should also add WEST SIDE STORY to that list, judging from the full house I saw at the Largo Cultural Center where Eight O'Clock Theatre performs its shows. As popular as it is, WEST SIDE STORY is also one of the most difficult shows to mount, requiring well over a dozen young men who can sing, dance, act and look like menacing thugs. It's an incredibly physical show, where timing and energy (and great vocals and dancing) are everything. Finding the young men who can show up to rehearsals, tighten up the dance-heavy sequences and commit their time is especially tough for community theatres, where the actors perform out of love and not for profit.

Eight O'Clock Theatre's WEST SIDE STORY, smartly directed by the infinitely talented James Grenelle, is a fast-paced, well-done production that should make the cast and crew proud. But really, how could they go wrong? Leonard Bernstein's driving score is so boisterous that it can wake the dead; the lyrics by a young Stephen Sondheim are clever (as well as a few that are cringe-worthy, as Sondheim himself will admit); and Arthur Laurents' book holds it all together. But it all started with original choreographer Jerome Robbins, whose dances changed the face of an art form. (Amy Phillips' choreography in the Eight O'Clock Theatre's production has some of the physicality of Robbins' work, but misses some of the tightness and energy.) The Romeo and Juliet updating with the iconic Jets and Sharks gang, as well as some of the most famous musical theatre songs in history, gets the right treatment here, with fast-moving set changes, Dalton Hamilton's fine lighting design, Tom Hansen's outstanding set, and the fabulous orchestra led by music director Jeremy D. Silverman.

As Maria, Anissa Perona simply shines. Her singing voice is exquisite, nailing each moment vocally. You couldn't wait for her to be onstage, which has never happened in a WEST SIDE STORY I've ever experienced before; usually you can't wait for Tony and Maria's scenes to end so that we can get to the fun gang stuff. But Perona's Maria is so touching, starting off innocently and ending up jaded and dark, that she elevates everyone onstage with her. To think that she is still a student at Dunedin High School, she gives a professional-level performance that steals the show; her drama teacher and vocal coach should beam with pride.

As her doomed love, Tony, Austin Gresham seems more like a Romeo than former gang member Tony. I know he's supposed to be the Romeo of WEST SIDE STORY, but he has to be tougher than the Montague lad--a fighter as well as a "pretty boy" (as Bernardo calls him); he has to have something to suggest his former street gang life. But here, you cannot imagine this young man ever being in a fight. Still, he matches up well with Perona's Maria, and they're certainly bubbling with chemistry and passion (if not, then the show's in trouble). Gresham's solos were hit and miss, where some of his songs didn't have the power we're used to, especially in one of my favorites, "Something's Coming," where he got pitchy at times. But when he sings with Perona, the two of them vocally soar and sound absolutely beautiful together. "One Hand, One Heart," usually unmemorable when compared to the other songs in the show, is sensational here and one of the strongest numbers of the night. Although never my favorite song, I now have a newfound appreciation of it due to Perona's and Gresham's version of it.

I know we're supposed to be rooting for the Jets; the audience follows their storyline more closely, and they also have some really great songs (I'm always partial to the edgy "Cool" and the rousing "Jet Song" ). But that's not the case here. Judging solely by the performances at Eight O'Clock Theatre, I am now officially a Sharks' fan.

In this production, the Jets seem to be the most unthreatening street gang I have ever seen; they look like a high school science club that couldn't intimidate a kindergarten kickball team. I have yet to see a production of WEST SIDE STORY that has a gangland, life-on-the-street feel to the Jets (and I include the movie in this criticism). Only Baby John (played by the talented but way too young Dean Yurecka) can get away with a lack of toughness; there's no excuse for the others. Steven Fox's Riff isn't bad, and he sings well, but I never bought into his being a street gang leader. The only Jet in this production who looks like he might snap at any moment is Ryan Cocks' Action, whose wonderful "Gee, Officer Krupke" redeemed the Jets in Act 2. But Act 1's "Cool" verged on tepidness and the "Jet Song" didn't seem as galvanizing as I had hoped. Like every production of this show that I have seen, the supposedly tough guys here just appear too darling, like hamsters in a pet store, and not for one minute come across as juvenile delinquents.

Make no mistake, this production is all Sharks.

Seth Travaglino leads the way as a very sturdy Bernardo, Maria's brother who winds up being shish-kebobbed by Tony. I like how he shows the differences to the sloppy Americans both in style and in the formal way he presents himself. (He's such a commanding presence that you think they should retitle the show Seth Side Story at times.) The other Sharks look far more menacing than their Jet counterparts as well: Drew Street, Jayden Brawnco, Anthony Vazquez, Chavis Cook, and Rico Navedo.

As Bernardo's girlfriend, Anita, Rachel Crissman gives a brave, funny, and yet heartbreaking performance. The sequence where the Jets taunt her is the most intense version of this scene that I have ever witnessed. It's gut wrenching, moving, and we understand her motives that lead to the final tragedy. Not only is Crissman a riveting actress, she sings and dances quite well, especially in the show-stopping "America" (aided by Lauren Field, Katrina Young, Melissa Barnhizer, Jennifer Treste and Faythe Kelly). Her duet with Maria, "A Boy Like That/I Have a Love," made the song, one of the least known from the show, become one of the best. And in the famed "Quintet," I wasn't a fan of where Anita was placed onstage, but Crissman played the sexually charged nature of the part to its fullest.

The adults are overall only adequate, though Mike Arnold makes for a feisty Doc; Jeremy Moranski finds much humor in the role of Officer Krupke, but he seems to be acting in a completely different play; Rick Laitenberger shouts too much as Schrank, but he interestingly unmasks any subtlety in his racist lines; and it's fascinating that a woman plays Glad Hand (here called Gladys), and since it's Bridget Yurecka's first time in a play, we wish her a hearty welcome to the stage!

Some scenes are incredible. The dance at the gym may be my favorite, where the choreography, energy, sets and Chad Mueller's brightly colored period costumes come together quite successfully. I especially like director Grenelle's staging where we see Bernardo chastise his sister early on because she's simply watching some of the Jets dance. The lighting here helps tell the story, beautifully accomplished, especially in the moment where Maria and Tony meet. And each character is always in the moment, and the dances, including the mambo, are wild and wonderfully staged.

This may be the fastest WEST SIDE STORY I have ever seen, briskly paced, never boring. They leave the structure the same as the original Fifties production, so don't be alarmed that "Cool" is in Act 1 and "Gee, Officer Krupke" occurs in Act 2, after a Jet and a Shark die. And be prepared near the end of the show for a loud bang, which literally jolted me out of my seat.

After the show, I overheard a man near me tell his wife, "That was really good." With the exception of some of the aforementioned issues, I heartily agree with him!

The rest of the WEST SIDE STORY run is close to selling out, so you may want to get your tickets now. It ends on Sunday, November 15th. For tickets, please call (727) 587-6793.

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