Playhouse’s ‘West Side Story’ is grand
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Tom Titus
When “West Side Story” took Broadway by storm in 1957, it ushered in a new era in the theater -- musical drama. Its fiery depiction of
juvenile gang warfare and cross-cultural romance was termed a modern
version of “Romeo and Juliet.”
Now, nearly a half-century later, “West Side Story” remains one of
the landmarks of the musical theater, familiar to most audiences, yet
retaining its capacity to catch and hold the viewer.
Its latest local incarnation, at the Huntington Beach Playhouse,
is a sterling example of the fine art of bringing a vintage musical
into the 21st century.
There is no time element as such in director Kysa Cohen’s
conception -- “West Side Story” is, indeed, timeless. The
confrontational Jets and Sharks could be black, Asian or whatever.
The point is, one culture has dug in its roots, the other is derided
as foreign. These conflicts predate Shakespeare or even Sophocles.
In Cohen’s pulsating Huntington Beach production, the accent is on
the show’s outstanding choreography, created by Stephen F. Agosto.
Numbers such as the “Dance at the Gym” and “America” throb with
ethnic fervor, while the Jets’ intense “Cool” dance (repositioned
where it should be, after the fatal rumble) is a masterful depiction
of barely controlled fury.
Set designer Kevin Clowes has placed the action on three mobile
scaffolds that are shifted after each scene and serve as skeletal
backdrops from which the gang members swing or leap from one to
another.
Cohen and Agosto keep the pace dizzying, and the excellent company
of performers rises notably to the challenge. Even among a superb
ensemble, there are a few standout performances. Louise Marie
Cornillez is a radiant Maria, glowing with the first light of romance
and offering a glorious vocal style. Matthew Gilbert’s Riff is a
dynamic gang leader, and Edwin Lopez seethes splendidly as his
opposite number, Bernardo.
Jason Prefontaine brings his somewhat callow rendition of Tony
into full bloom in the intense second act, matching Cornillez’s vocal
supremacy. Brenda Salas is a first-rate, fiery Anita, and Natalie
Kollar glistens in the relatively minor role of Riff’s girlfriend,
Velma, which she elevates with her superb dancing skills and electric
presence.
The adults in the show are primarily background characters, but
Bruce Gold’s weary, overbearing Lt. Shrank and Brent Hardwick’s
downtrodden but defiant Doc make lasting impressions. Vince Fay as
Officer Krupke and Marjorie Stanford Wray (in her stage debut,
playing a role written for a man) as “Mrs.” Glad Hand acquit
themselves nicely.
Other fine performances in the volatile mix come from Noe Esponoza
as the hot-headed Action, Tal Feingold as Jet girl Graziella, Sean
McBride as the youthful Baby John, Steve Weber as the pugnacious
Diesel, Joseph Cole as the reticent Chino and Courtney Gates as the
feisty tomboy Anybody’s.
Musical numbers, under the tutelage of Bill Wolfe, though the
production employs taped music, are exceptionally rich, and Agosto’s
choreography crackles throughout. Typifying the show’s
confrontational quality is the number “Gee, Officer Krupke,” which
concludes in a scene that could have been lifted from “Grease” --
under a full moon.
While Cohen has transplanted “Cool” to its more logical position,
after the rumble, the comical “Officer Krupke” number remains in the
tragic portion of the show, as does Maria’s light and airy “I Feel
Pretty.” Both of these songs were repositioned to the early action of
the Oscar-winning movie by its director, Robert Wise, a format with
which most theatergoers will be familiar, and which may seem out of
context in the original form.
It may be 46 years old, but “West Side Story” admirably retains
its youth and energy in the splendid production at the Huntington
Beach Playhouse.
* TOM TITUS reviews local theater for the Independent.
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