West Side Story

In live performance "West Side Story" asserts its primacy as a living masterwork, not a mere historical stepping-stone for subsequent serious tuners.

Kyle Harris and Ali Ewoldt are

If you’ve only seen the movie, you’ve never seen “West Side Story.” That’s a fact even if you don’t share 1957 librettist Arthur Laurents’ antipathy to the 1961 Mirisch/UA Oscar winner, which (to Laurents at least) lowered the stakes and compromised authenticity. The piece’s ambition and adventurousness, still startling after 50 years, fully comes through in the current Gotham revival shepherded by the nonagenarian, though the touring version now gracing the Pantages stage is a patchier affair. Still, in live performance “West Side Story” asserts its primacy as a living masterwork, not a mere historical stepping-stone for subsequent serious tuners.

The coup is achieved by hearkening back to “Romeo and Juliet” not merely in plot — the feud between rival clans breached by two lovers — but also in ferocity. Like the best productions of Shakespeare’s tragedy, this revival emphasizes the oppressive heat, headstrong temperaments and bigotry forcing the characters into heedless error and inevitable sorrow.

The approach validates Jerome Robbins’ joyously muscular choreography — lovingly restaged by Joey McKneely — as an expression of character, and brings the second act dream ballet into sharpest relief. Its utopian vision of a “Somewhere” in which everyone looks alike, Jets and Sharks moving in untroubled harmony, is rudely shattered when people, as people do, behave very, very badly.

This touring cast, with David Saint reconstructing Laurents’ direction, is guilty of pushing the story’s mindless rush into near-caricature. The sideline adults are too often over the top, and the Jets and Sharks are sometimes unmodulated in their frenzy. (German Santiago’s Bernardo, sleek and intense as the leader of the Sharks, is a chilling exception.)

Yet Tony (Kyle Harris) and Maria (Ali Ewoldt) genuinely act their songs and convey all their roles’ shadings; they’re real kids with real problems. No Facebook dreamboat, Harris is an authentic neighborhood lunkhead elevated when transcendent love enters his world, his “Maria” a glorious working-out of brand-new feelings.

No conventional beauty, Ewoldt is so beguiling as to transform “I Feel Pretty” into a rite of maturity into womanhood, in a precise parallel to Juliet’s journey.

Stephen Sondheim’s simple lyric “I have a love and it’s all that I have” has never made more sense: Their love is indeed all these simple children have, and with Ewoldt and Harris enacting it so precisely, this production can’t help but wrench the heart.

Sondheim is famously less than comfortable with some of his imagery here, just as composer Leonard Bernstein allegedly lamented that this show would be his principal legacy. Yet if there’s another set of lyrics so well suited to its characters and situations, another score so sweetly melodic yet thrilling in its modernity a half-century after its creation, you’d have to look far and wide to find it.

And the daring of lowering a curtain on virtual silence, not once but twice, captures the gut punch of tragedy to which so many serious-minded tuners have aspired over the last half century, but which so few have earned.

West Side Story

Pantages Theater, Los Angeles;2,703 seats; $100 top

  • Production: A Kevin McCollum, James L. Nederlander, Jeffrey Seller, Terry Allen Kramer, Sander Jacobs, Roy Furman/Jill Furman Willis, Robyn Goodman/Walt Grossman, Hal Luftig, Roy Miller, Broadway Across America presentation of a musical in two acts with music by Leonard Bernstein, lyrics by Stephen Sondheim, book by Arthur Laurents. Broadway production directed by Laurents. Directed by David Saint. Music supervisor, Patrick Vaccariello; music director, John O'Neill; choreography by Jerome Robbins, reproduced by Joey McKneely.
  • Crew: Sets, James Youmans; costumes, David C. Woolard; lighting, Howell Binkley; sound, Dan Moses Schreier; wigs and hair, Mark Adam Rampmeyer; makeup, Angelina Avallone; translations, Lin-Manuel Miranda; orchestrations, Bernstein, Sid Ramin, Irwin Kostal; music coordinator, Michael Keller; associate producer, LAMS Prods.; technical supervisor, Brian Lynch; production stage manager, Eric Sprosty. Opened, reviewed Dec. 1, 2010. Runs through Jan. 2, 2011. Running time: 2 HOURS, 30 MIN.
  • Cast: Tony - Kyle Harris <br> Maria - Ali Ewoldt <br> Anita - Michelle Aravena <br> Riff - Joseph J. Simeone <br> Bernardo - German Santiago <b>With:</b> Isaac Benelli, Mike Boland, Ryan Christopher Chotto, Stephen DeRosa, Drew Foster, Alexandra Frohlinger, Jay Garcia, Grant Gustin, Neil Haskell, Nathan Keen, Christopher Patrick Mullen, John O'Creagh, Kyle Robinson, Cary Tedder, Lauren Boyd, Alicia Charles, Beth Crandall, Dean Andre de Luna, Ted Ely, Lori Ann Ferreri, Ryan Ghysels, Tim Hausmann, Dea Julien, Daniel Kermidas, Kristen Paulicelli, Christie Portera, Erika Santillana, Kevin Santos, Michael Scirrotto, Jeffrey C. Sousa, Jessica Sweeney, Kathryn Lin Terza, Kirstin Tucker.
  • Music By: