BWW Reviews: WEST SIDE STORY Reboot Brings Gang Warfare to the O.C.

It's been about nine months since the touring company of the terrific, refreshed 2009 Broadway revival of WEST SIDE STORY hovered in the Southern California 'hood. Luckily, a timeless classic like this is so impervious to what extended gaps in viewing may induce, that seeing the stage show return to the area feels just as moving as the first (or second) time one experiences it. A near-perfect blend of story, lyrics, score and movement, the stage musical—playing this time at the Segerstrom Center for the Arts in Orange County through September 18—bursts forth with a kind of style and intelligence that practically guaranteed its iconic place in history.

Arguably one of the greatest musicals of all time, this stirring, energetic reboot—spearheaded by the late original book author Arthur Laurents—has been smartly touched up with an awareness of current sensibilities and a healthy dose of heightened reality. For every whip of its antiquated, dated pseudo-slang, the show offers the counterpoint of exposed emotion, ribald bawdiness, and forward-thinking honesty. The end result is a superb (though not quite flawless) update that takes care to not only prop up everything that has made the show a beloved classic in the first place, but to also allow for a fresh perspective to penetrate.

Loosely based on Shakespeare's Romeo and Juliet—itself a classic, time-defying story with contemporary leanings—WEST SIDE STORY presents a stylized portrait of two opposing teenage "gangs" in the Upper West Side enclave of New York City, circa mid-20th Century. There are the Jets, a hodge-podge collection of wisecracking misfits borne from European immigrants, led by charismatic leader Riff (the excellent Joseph J. Simeone). Their chief rivals—besides the local cops tailing their every move—are the Sharks, the local Puerto Rican gang under the direction of old-world stalwart Bernardo (the charming German Santiago). Both gangs want control of the neighborhood, driven by each other's hatred.

In perhaps one of the most gorgeously hypnotic, dance-heavy openings of any musical, the gangs one-up each other in a fight for dominance, leaping and outstretching like peacocks on the street. The Jets clearly have an advantage—by virtue of being Caucasian (despite all being offspring of immigrants themselves), they already look and sound "American." Even the brazenly racist authority figures, Lt. Schrank (Christopher Patrick Mullen) and Officer Krupke (Mike Boland) would like nothing more than to clear the neighborhood of the "foreigners."

Caught in the middle of this ugly turf war is Bernardo's newly-arrived younger sister Maria (the glorious Ali Ewoldt), who works at the local bridal dress shop with Bernardo's vivacious, liberal-minded girlfriend Anita (the terrific Michelle Aravena). Tensions reach an all-time high when Maria catches the eye of a handsome young stranger across the crowded room of the high school dance. The young man turns out to be Tony (Kyle Harris), Riff's best friend and a now-retired member of the Jets. Though still "womb-to-tomb" loyal to Riff, Tony has since abandoned membership with his old gang. More mature and level-headed than his buddies, Tony now prefers a more "responsible" lifestyle as a sales clerk at the teen's favorite neighborhood store owned by Doc (John O' Creagh). Bernardo is, of course, livid when he catches Tony and Maria sharing a kiss, vowing to beat the living crap out of him.

But despite the anger all around them, Tony and Maria's romance goes from instant attraction to deep, mutual passion—culminating in a balcony serenade that cements their love with a blink of an irrational eye. They begin their rapid courtship in secret (their youth and naïvete bursting with sky-high joy), while the Jets and Sharks go forward with their ultimate showdown.

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. By the time 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. It's a nice touch.

Even after more than half a decade, WEST SIDE STORY's themes still permeate and ring eerily true. The show itself is still altogether beautiful—from the impeccable orchestrations and songwriting, to the hypnotic dancing and depth-defying movements. But yet here, under Laurents' direct supervision (resumed by tour director David Saint), this new iteration feels a bit grittier than previous, sanitized productions, as if striving to inject the fantastical show with a bit more pathos, humanity, and realism.

More than anything, this revival tries its best to force its raw, visceral powers of emotion to take center stage, personified in particular by the stirring, kinetic ballets conceived by the show's original Tony Award-winning choreographer Jerome Robbins (lovingly recreated for the tour by Joey McKneely) and the gripping, line deliveries of its impressive ensemble cast. Combine that with the piercing, jabbing consonants of Laurents' book, the undeniable richness of Leonard Bernstein's memorable score, and Stephen Sondheim's wit-laced lyrics, and you've got the makings of a classic reborn for a new generation to absorb.

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 Tony-winning IN THE HEIGHTS. His work here feels beautifully seamless—as if revealing a buried treasure that has just been newly discovered.

While some will argue that this risky language revision taints the show's original version—by essentially making parts of the show incomprehensible to portions of the audience—I believe it's actually a masterful decision, that, again, drives the show closer into the realm of realism. Its inclusion feels justified: Hey, if you know a native language that your amigos understand fluently, wouldn't you more likely speak to each other in this language? And wouldn't it be especially useful to use it so your enemies can't understand a single thing you say when their within earshot?

Thus, in a song such as "Un Hombre Así" (more popularly known as "A Boy Like That") one doesn't need a translator to feel the characters' heartbreaking, emotional tug-of-war. "I Feel Pretty" now feels like the audience is eavesdropping in a room full of giddy teens being themselves. The actors, thankfully, are skilled enough to break through with the art of face and body language.

It should be noted, by the way, that the touring version incorporates a lot less—yes, less—Spanish than the Broadway revival's first few months initially had  (where most of the Shark-centric songs and much more of the conversations between Puerto Rican characters were fully in Spanish). Now the touring version frequently toggles back and forth with a mixture of English and Spanish sentences to help bridge the gap between old and new. But, really, 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.

Another welcome change in the show is to see a production (outside of regional and high-school theaters) that utilizes an age-appropriate cast populated by actors who truly look like the ages they portray. And, oh boy-boy-crazy-boy, this cast more than delivers—with each athletic leap and each boisterous crescendo. For the most part, the cast has remained the same since it played its four-week engagement at the Pantages Theatre way back in December of 2010.

In the central role of Tony, OC-native Harris—though handsome and adorkable, as my friends would say—still doesn't feel or sound quite right for the part. While considerably more assured than his appearance in the L.A. run last year, I was open-mindedly hoping that with the passage of time, my original thought that he was perhaps a bit miscast would subside. Alas, to my disappointment, my earlier assessment still holds true. The actor, to be fair, is undeniably talented, but he just doesn't quite live up to the bolder, more valiant Tony portrayals previous actors have displayed. It certainly didn't help that he seems to be visually straining while sounding nasal in his upper register. But to his credit, he managed more than a few lusty "oohs" when he emerged wearing a wife-beater during the heavenly "Somewhere."

The rest of the cast fares better. As etherial ingenue Maria, the amazingly talented Ewoldt continues to shine thanks to a beautiful, controlled soprano voice that truly ascends the 3,000-seat theater. It's a testament to her talents that she can elicit both smiles and tears within the span of a song. Ewoldt is certainly a complimentary contrast to Rita Moreno look-alike Aravena, whose strong, vibrant alto register and rousing dance skills prove to be a joy to watch. Both women are so captivating in their roles throughout the entire show that when they finally come together to sing their emotional second act duet, goosebumps (and even a trickle of tears) are impossible to stop. 

Also worth mentioning: the commanding Simeone, who turns in a riveting, noteworthy performance as Riff. He is so utterly engaging to watch and is quite believable as the leader of the Jets. Other wonderful performances include the subtle but still formidable Santiago, doing his take on Shark leader Bernardo; Drew Foster providing a new, refreshing take on Action; and surprising stand-outs Ryan Christopher Chotto and Grant Gustin both offering intriguingly realistic teen portrayals. Let's not forget androgynous, pint-sized Alexandra Frohlinger—who is both funny and moving throughout the show as tomboy Anybodys. She does a great job in her heartwarming solo in "Somewhere." And, as a collective ensemble, the WEST SIDE STORY touring cast is without a doubt one of the best group of triple-threats you'll ever see on a stage. The dance sequences in the gym are worth the price of admission alone.

The one change from the original that does disappoint me is the truncated, abrupt ending. Without revealing too much, I feel the original treatment of the ending scene is so much more powerful and heartbreaking than what is now in the current revival. But, don't get me wrong... what you'll experience will still reduce you to tears. I just don't think the audience is given enough time to appropriately mourn the tragedy that ultimately transpires. Also, it would have been interesting for this revival to use this pro-reality opportunity to see more specific individual personalities emerge from the Sharks, instead of keeping them as just nameless drones behind Bernardo. I have to say, though, that it was nice that the Shark girls seem much more vividly used here than in previous iterations.

Overall, this high-energy, thought-provoking WEST SIDE STORY revival appropriately honors the original, yet feels somehow refreshed with its 21st-Century coat of theatrical paint. It's a beautifully balanced success that straddles respectful 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 and in the flesh. Do yourself a favor and see this important, iconic show while it's still here.

Follow this reviewer on Twitter: @cre8ivemlq
Read BWW's Interview with star Ali Ewoldt here.

All photos by Joan Marcus. From top to bottom: Maria (Ali Ewoldt) and Tony (Kyle Harris); Riff (Joseph J. Simeone), Tony, and Bernardo (German Santiago) talk weapons; The Jets try to keep 'cool' under pressure; A-rab (Ryan Christopher Chotto) and Baby John (Grant Gustin) get an earful from Officer Krupke (Mike Boland); Anita (Michelle Aravena) and Bernardo do the Mambo; Anita and Maria try to work things out.

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Performances of WEST SIDE STORY at The Segerstrom Center of the Arts continue through September 18, 2011 and are scheduled Tuesday through Friday at 7:30 pm, Saturdays at 2pm and 7:30 pm, and Sundays at 1pm and 6:30pm.

Tony Award-winning librettist Arthur Laurents' Broadway direction will be recreated for the tour by David Saint, the Associate Director on Broadway. The original Jerome Robbins choreography is reproduced by Tony Award-nominee Joey McKneely. WEST SIDE STORY is produced by Kevin McCollum, James L. Nederlander, Jeffrey Seller with Terry Allen Kramer, Sander Jacobs, Roy Furman / Jill Furman Willis, Freddy DeMann, Robyn Goodman / Walt Grossman, Hal Luftig, Roy Miller, The Weinstein Company and Broadway Across America.

WEST SIDE STORY is written by three theatrical luminaries: two-time Tony Award winner Arthur Laurents (book) and multiple Tony and Grammy Award winners Leonard Bernstein (music) and Stephen Sondheim (lyrics) in his Broadway debut. WEST SIDE STORY features scenic designs by James Youmans, costumes by Tony Award nominee David C. Woolard, lighting by Tony Award winner Howell Binkley, and sound design by Tony Award nominee Dan Moses Schreier.

Ticket prices start at $20 and can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa.

For more information, please visit SCFTA.org.