Theater Review: West Side Story

by John Garcia of John Garcia's The Column

Currently this nation is slowly edging towards electing a new President of the United States. Whichever political party you are rooting for, either ticket will be making history. We will either have our first ever African American President or our first ever female Vice President.

The candidates are pushing a laundry list of new policies and changes if elected constantly in the media. One issue that is one hell of a hot political button is immigration. It is an issue that just rips apart the very cloth that our forefathers created to make this a free country.

As I sat watching Lyric Stage's current offering, West Side Story, I was reminded that after all these years not much has changed within our country in regards to race. Here is a musical that opened in 1957 which deals with racism and hatred. And now over 50 years later, we're still at each other's throats on who can live here or not, or has the right to live here.

WSS opened in September 1957 at the Winter Garden Theater starring Larry Kert and Carol Lawrence as the doomed "Romeo & Juliet" set against the tough streets of New York.

Another principal in the original company was a Latina goddess whose birth name was Dolores Conchita Figueroa del Rivero, who changed her name to Chita Rivera. And we all know what became of that legend.

When I conducted my first ever interview with Chita Rivera back in 2001, I asked her during a break what it was like to work with Jerome Robbins. She said he was indeed a taskmaster and was so difficult on her, but the end result was there on stage. She said she was forever grateful to him for making her who she is today. She later retold this story (and more WSS anecdotes) in her magnificent autobiographical musical A Dancer's Life, which I saw and loved on Broadway in December 2005.

At the 1958 Tony Awards, this Jerome Robbins helmed dramatic piece was met with 7 nominations including Best Musical. The other nominated musicals were The Muisc Man, Bob Merrell's New Girl in Town, Jamaica and Oh, Captain! In the acting categories, only Ms.Lawrence received a nod (losing though to Barbara Cook, who originated the role of "Marian" in TMM). West Side Story walked home with three wins, including Best Choreography for Robbins. He had some major competition winning that medallion trophy what with Bob Fosse (New Girl in Town) and Ona White (TMM) as his fellow nominees.

The musical would play for 732 performances, but not before transferring to the Broadway theater, and then back to the Winter Garden, where it would close in June 1959.

In April 1960, WSS had a return engagement, starting back at the Winter Garden, then transferring to the Alvin Theater, closing in December 1960 after 249 performances.

1964 brought the NYC Center Light Opera Company revival where it played for 31 performances in a limited engagement. Finally in February 1984 at the Minskoff Theater came the first real Broadway revival of WSS. This time around Houston native Debbie Allen portrayed "Anita", earning a Tony nod. For this production, it would receive 3 nominations, but went home empty handed.

Let's not forget the 1962 film version starring a dubbed Natalie Wood. The film was co-directed by Robbins and Robert Wise, resulting in ten Academy Awards, including Best Picture. While I have enjoyed the film, I still much would have preferred Ms. Rivera recreating the role of "Anita" than Rita Moreno, but that's just me.

WSS is set to have its third major Broadway revival come February 2009. This time around the production will be directed by its original book writer, Arthur Laurents. He has said in the press that this version will convey authenticity. That this version of the landmark musical will have Spanish interwoven in the dialogue and songs and gang members who are more thug life than thug lite.

YOU READ IT HERE FIRST in "THE COLUMN": Now, this is not official or confirmed, but several of my New York sources have let me in on some delicious backstage tidbits regarding the Laurents revival. It has been "whispered" to me that the casting is possibly going international (like Argentina) with some of the leading Latin roles. Another tidbit is that all of the Sharks and Latin characters lines, lyrics, and songs will be sung totally in Spanish, with subtitles flashed on a screen somewhere on stage. Again, this is not confirmed, but it's what my NY sources have told me. If it does happen, remember, you read in here in THE COLUMN first.

For the Lyric Stage version, Producer Steven Jones has brought on board to helm his production Grover Dale, who originated the role of "Snow boy" in the landmark Robbins version. Dale has a lengthy Broadway resume, with such work as a performer in the original casts of Lil' Abner and Greenwillow (starring pre-Pyscho star Anthony Perkins). As a choreographer/Director on Broadway some of Dale's past work includes The Magic Show (starring magician Doug Henning) and Mail (Starring Michael Rupert). Dale would serve as a co-director in 1989 on the Tony Award winning Jerome Robbins Broadway, assisting Mr. Robbins on what else? The West Side Story section. Mr. Dale even danced in the Rodney Dangerfield film Meet Wally Sparks and served as choreographer for the television version of Barry Manilow's Copacabana.

As you watch Dale's WSS vision on the Carpenter Hall stage, you are keenly aware that he indeed paid very close attention while performing the Robbins original version. But he has also added his own elements, both infusing into a refined and richly emotional piece of classic musical theater.

With only pieces of scaffolding and metal stairs as his set, Dale has stripped down the production to the bare bones. Only set bits and pieces of furniture were brought in to tell us it's a bedroom or Doc's soda shop. But it's the use of decaying, graffiti splattered doors that I found fascinating. To divide scenes or to hide the horrors of violence, Dale has his company softly rush on stage with doors to create these scenes. The finale in Act One actually put a chill down my spine as you watch the dancers whisk on stage with doors to cover two dead bodies while police search lights glare down.

That is another quality that I greatly admired in Dale's production. He has his cast consistently moving the scaffolding, furniture, doors, etc. with fast precision and focus, never once distracting from the emotion on stage. Dale's direction is truly gratifying. I'm sure Mr. Robbins is beaming from high above the Carpenter Hall stage.

Lyric's producer Steven Jones is the true leader when it comes to producing both new musicals, and bringing back classics with finesse and polish. But the man is after my own heart when he adds a 34 piece orchestra to bring those scores to lush, grand life. For WSS, Jones has hired a 34 piece orchestra that will leave you breathless. To hear that glorious Bernstein score with live strings and hearty horns, "ohmigod!" It's like nothing you've heard before on any local stage whatsoever.

Today's economy is kicking the arts right in the pocket book, so who knows when you'll hear something like this live ever again. It's a feast for the ears to say the least. Major loud kudos must also be bestowed to Conductor & Musical Director Jay Dias. He masterfully kept the grand orchestra in perfect tempo with the cast. Even when during "Gee, Officer Krupke" one performer rushed ahead of the orchestra, Mr. Dias with soft professionalism eased the 34 members to meet the actor on the next verse in perfect unison. That's a pro people! Bravo Mr. Dias, Bravo!

The entire cast does a solid job within the production, with a sprinkling of exciting debuts as well. I give them major props and a standing ovation for doing the original Robbins athletic choreography. That is no easy feat whatsoever. To say the least he company's energy electrified the opening night audience. However though, there were sections of dance where the choreography was not as polished as it should be. Within the opening number, there were several male dancers who were not in unison with the others. Also during the gym dance and the "Cool" number you did notice that some dancers got behind the others. Nonetheless, they were a great bunch of talented performers who did a remarkable job with the vigorous, yet dazzling choreography.

Micah Shepard portrays "Tony", the soda shop employee who falls in love with a Latina. Shepard has all-American, corn-fed looks that actually gave the role a fresh and dynamic aura. Where he really shines brightly is his lyric interpretation and vocal technique within the score. Instead of belting throughout the entire score, he gives the music a much more intimate, personal approach that works superbly here.

An example of this is his first solo, "Something's Coming". He plays marvelously within the Sondheim's lyrics to give the song this innocent quality. This greatly aided his character arc when the darkness of the piece seeps in. His honest, organic, realistic approach to such songs as "Maria", "One Hand, One Heart" and "Tonight" are also solid successes for this very talented actor. I was greatly impressed by the fresh, internal approach to the character that Mr. Shepard provided here.

It is no secret that Kimberly Whalen possesses one of the most exquisite singing voices to grace any metroplex stage. It is pure, clean, and impressive. Here she portrays "Maria", and every song was like a glistening diamond that sparkled with glowing brilliance. But there were problems within her performance, particularly in her acting and looks.

Ms. Whalen in reality is an eye-catching blonde, but alas even with the black wig and tan make up; she just did not look Latin whatsoever. To make her characterization more problematic was her choppy, uneven attempt at a Spanish dialect. It was painfully clear she struggled throughout the evening with it. It didn't help her cause when the real Latinos surrounding her on stage spoke with clean, honest Spanish dialects, and hers came out so fake, slowly become a distraction within her performance. Finally, when she sang, the accent would come and ago throughout her assigned songs.

I just felt Ms. Whalen was not connecting with the subtext and especially the dark, gut wrenching pathos of her character arc within the second act. For example the tragic scene involving the realization her lover killed her brother. It is a scene of deep anguish & horrific discovery. Thus when Whalen rushes to Tony and screams, "Killer! Killer", it did not have a ring of organic truth or realism. She seemed to consistently battle within her characterization on finding the moment and truth. But again, I must commend her singing, for it is beautiful.

The star making, breakout performance within the large company belongs to Christie Peruso as "Anita". This girl is going to be a star, mark my words. A tall, sexy, gorgeous Latin beauty with legs for days. She actually resembles a young Chita Rivera! From there add a magnetic stage presence that can be seen from the far reaches of outer space. Every time she stepped onto that stage you literally saw the audience shift their focus and full attention on this raven-haired, glamorous beauty.

Ms. Peruso is what you call a true, genuine triple talent. She has a terrific set of soprano vocal pipes that fill the Carpenter hall with crystal clean finesse. Her rendition of "America" becomes one of the evening's truly outstanding show stopping numbers. Even when her foot got caught within her black petticoats and tore into the material. She simply wrapped the torn ruffle around her wrist and used it like a prop -- that's a star in my book! And can the girl dance! Those gorgeous gams looked amazing working through all that Robbins choreography. Her technique and energy in her dancing could set off a five alarm fire in four seconds flat.

Finally there was her acting and very impressive characterization to the role of "Anita". The first act she gave "Anita" full sexual heat & playfulness. But then watch the superb transformation of losing her boyfriend, then becoming a victim of racism and attempted rape. The way she viciously and painfully attacks the lyrics in `A boy Like That" is gut wrenching truthful from beginning to end. Peruso's acting technique in that second act is powerful beyond words. Watch how her body convulses and falls apart on the floor. But then rises with dignity and control. I was completely mesmerized by her magnificent performance here. If Chita Rivera saw Peruso's performance here, the Broadway legend would be very, very proud of her role being done so superbly here by Ms. Peruso.

Matching Ms. Peruso's talent is Antonio Jimenez's brooding, suave, and masculine portrayal of "Bernardo", leader of the Sharks. Instead of keeping him angry throughout the piece (as I have seen in past "Bernardos" ) Jimenez gives the role a more loving heart and compassion towards Maria, while completely in sensual lust with his Anita. Mr. Jimenez's handsome looks and command of the stage add up to one terrific, yet intense performance.

Jeremy Dumont I must admit is not someone you automatically think is how "Action" the Jet would physically resemble, but then I see what director Dale was going after. Usually the role is cast by a ruff-n-tuff thug. But with Dumont's sweet young teen looks, it helps bring a more disturbing layer of subtext that works wonderfully within his characterization. "Action" has all this pent up anger and hatred within him, always on the verge of exploding and losing it all. Thus to see this under layer of racism and anger pour out from such a sweet kid, it just brings organic reality to Dumont's performance. Think about it. Every time we watch the news and see teen commit violence, neighbors tend to say, "Oh but he was so sweet and innocent." Dumont also shines brightly and carries with comedic razzle-dazzle the jovial number "Gee, Officer Krupke". And watch this kid dance; it's like watching a teenage Jerome Robbins come alive!

Speaking of dancing, the corps of dancers within this company are all superb. How I wish I could dance like this first class troupe does. They all do such a remarkable job at recreating the original Robbins choreography that attention must be paid to them. The Jets are comprised of Harry Feril, Brett Quine, Jason Mayfield, Stephen Langton, Tyler Donahue. Hannah West, Ryan Vancompernolle, Meghan Fluker, and Kellie Carroll are their girlfriends.

The powerful and exciting Sharks include Peter Romaniello, Alexander Arroyo, Sergio Garcia, and David Staggers. The sexy Shark girls consisted of Melody Denoia, Kristen Smith, Koreyci Barreto, and Angela Moore.

It was an interesting casting choice though that Dale created in regards to the Sharks and Jets. For the Latin gang, the majority of the boys are quite muscular, handsome, rugged, & extremely masculine. But for the Jets some are quite short, or very thin, and look quite young, like a group of boy band twinks. This actually created some interesting subtext if you ask me.

Also providing exceptional, thoroughly entertaining performances within this radiant cast include Philip Groft as "Riff" (Although the Link Larkin pompadour was a little distracting); Mario Martinez (Chino); Amanda Passanante (Rosalia); Francis Fuselier (Doc); Lili Froehlich (Anybodys); and Gordon Fox (Glad Hand).

Already this season we have seen some truly outstanding musicals all throughout the Dallas-Fort Worth metroplex. Well, you can easily add Lyric Stage's West Side Story to that growing list. We are indeed so lucky to have Lyric Stage housed here. I mean to produce a big musical like this with this kind of talent, then add a glorious 34 piece symphony orchestra, and then have the production helmed by one of the original Broadway cast members……I mean what more can you ask for?

Lyric Stage's West Side Story is a musical theater fan's banquet, except Lyric serves it all up on glistening, glittery golden plates!

GRADE: A

West Side Story runs through September 14 and tickets can be purchased online or by calling 972-252-2787.