‘Story’ time
Lyric’s rendition of “West Side Story” is a quintessential American musical theater experience. BAM has a review of the stunning performance.
The passion lives up to the pedigree with Lyric Theatre’s must-see new production of “West Side Story.”
The Civic Center show maintains the iconic choreography by Jerome Robbins, the intricate score by Leonard Bernstein, the indelible lyrics by Stephen Sondheim and the urgency of the book by Arthur Laurents. But it’s the love and hate the characters convey, not just the legends and lore now attached to the material, that power the production, allowing the beloved classic to feel fresh and vital again.
Under the direction of Matthew Gardiner — whose 2015 production at Signature Theatre in Washington, D.C., wowed sold-out audiences, including Lyric’s Producing Artistic Director Michael Baron — “West Side Story” remains a period piece but becomes as real and relevant as ever.
Set in the 1950s on the Upper West Side of New York City, the musical chronicles the hostility between the Jets, a white teenage street gang, and the Sharks, a gang of Puerto Rican immigrants.
Although the story is loosely based on Shakespeare’s “Romeo and Juliet,” these aren’t noblemen’s sons. They are poor immigrants and sons of immigrants who have little more than the brotherhood of their gangs and the humble scrap of urban jungle they’re willing to spill blood to control. A maze of balconies, ladders and fire escapes, Kimberly Powers’ wonderfully adaptable set design seems quaintly beautiful one moment and oppressively looming the next.
With Amy ReynoldsReed adapting Robbins’ choreography, the famous song-and-dance sequences come across less like arbitrary set pieces and more like artistic and athletic renderings of the posturing and roughhousing of rival man-children. The threat of violence imbues virtually every turn, leap and split.
Desperate to reassert the Jets’ dominance, protective gang leader Riff (Oklahoma native Christopher Rice, whose dynamism as a dancer makes him wellsuited for the role), decides to challenge Bernardo (the charismatic Alexander Cruz, who delivers some of the most memorable lines with convincing vigor), the fierce leader of the Sharks, to a rumble.
But the gang war gets complicated at the community dance, when Riff’s best friend Tony (Austin Colby), who has started drifting away from the Jets, locks eyes with Bernardo’s younger sister, Maria (MaryJoanna Grisso), who has just arrived in America so that she can marry the milquetoast Chino (Gino Chaviano).
It’s love at first sight — and Colby and Grisso, reprising their roles from the Signature Theatre run, absolutely make you believe in it.
The sparks aren’t just flying, they’re blasting like fireworks as they infuse the duets “Tonight,” “One Hand, One Heart” and “Somewhere” with all the reckless passion of young love. Colby boasts an irresistible appeal as the hopelessly romantic Tony, his warm and strong voice turning “Maria” into a fervent supplication. Grisso perfectly captures the essence of a girl in love — a little unsure and a lot more practical than Tony, but hopeful that love will conquer all — especially when she warbles “I Feel Pretty” in her high, clear songbird’s tones.
The only thing hotter than the couple’s chemistry is Desiree Davar’s turn as Bernardo’s feisty girlfriend Anita, especially when she brings the sexy sass to the stirring anthem “America.” (No one wears Jeffrey Meek’s gorgeous costume designs better, either.)
Ryan Fitzgerald also fires up the stage as the hotheaded Jet Action, who brings a biting wit to the satirical “Gee, Officer Krupke,” while Abbie Ruff practically crackles with frustration and longing as the tomboyish wannabe Jet Anybodys. Appearing in his 50th Lyric Theatre production, Vince Leseney brings quiet gravitas to the part of Doc, the kindly drugstore proprietor who tries to be a voice of reason. All the while, the excellent orchestra, under the direction of Jan McDaniel, shares the stage and keeps the exquisite score flowing like lifeblood through the show.
Although the 10-time Oscar-winning 1961 film hasn’t aged well, Gardiner’s visionary version pumps new physicality and vitality into the familiar tale, re-establishing “West Side Story” as a quintessential American musical theater experience.