When “West Side Story” opens, we are introduced to two New York street gangs: the Sharks and the Jets. And they’re dancing with fisticuffs. It takes a few minutes to get used to the fact that the stage-fights will be dance-fights, but once you do, you know you’re in for a ride. The cast of this Broadway revival tour in San Jose can definitely dance. This is a show with a story told largely through song and dance; it’s physical and visceral and, for the most part, it’s done pretty darn well.
“West Side Story” is the epitome of what a good musical should be. It’s full of memorable songs, impressive dance numbers, and a poignant story to tie it all together. Leonard Bernstein composed the complex and enduring music with lyrics by Steven Sondheim, choreography reproduced from Jerome Robbins’s original work for the play and a story based on Shakespeare’s “Romeo and Juliet.”
It’s the Upper West Side in the 1950s, and our Romeo is Tony, an American and the former leader of the Jets. His Juliet is Maria, a Puerto Rican immigrant whose family belongs to the opposing street gang, the Sharks. The gangs hate each other based on principle and unshakeable racism. But when Tony (Ross Lekites) and Maria (Evy Ortiz) meet at the local dance, it’s inauspicious, colour-blind love at first sight.
The story is told largely through song and dance. Bernstein’s music is a great challenge to sing: it requires a huge vocal range and the ability to master difficult syncopated rhythms and melodies with challenging intervals. Ross Lekites, as Tony, owns his musical part. He has a powerhouse voice with large and beautiful range that never becomes operatic. Every note is clear, with perfect pitch, allowing the music to shine to its fullest. Ortiz’s voice is meeker, by comparison, but full enough to get the message across. The rest of the cast does a fine job tackling this complex but rewarding material. Unlike many modern musicals, you will leave “West Side Story” humming the songs.
This production is wonderfully choreographed and staged, making excellent use of space and of James Youmans’ wonderful set design, which places you right in the streets of New York. The love scenes between Tony and Maria always take place on an island set-piece–her balcony, her bed or an empty stage without a background–because, as they lament in the song “Somewhere,” their relationship doesn’t belong in the world they live in. When the Jets do the famous number “Cool” right before meeting with the Sharks for a rumble, they start off in Doc’s drug store. Then the store set-pieces disappear, allowing the Jets to take over the stage, which is now that piece of territory in the city that they are so intent on defending. We also witness this territory-marking through dance in “Dance at the Gym.”
The biggest flaw in the production is that it far too often stoops to gain the easy, low-comedy laugh. The result is that the action feels less weighty, the tragedy less serious–it leaves the audience not invested enough in the plight of the two lovers. When done right, “West Side Story” should have no trouble getting an audience to tear up. This is further aggravated by the clumsy scenes with dialogue that often feels awkward and inadequately rehearsed. These scenes disrupt the flow of the story. This alienates the audience from what is otherwise an emotionally involving journey. Thankfully the show always recovers its steam as soon as we hit the next dance number: the tempo, volume, and melody of the music work together to elicit a strong emotional response. It is by no means a perfect production, but what it does well makes up for its shortcomings.
