In Asolo Rep’s five-year exploration of the American character, West Side Story begins the fourth by perfectly illustrating its emphasis on change and reactions to it. In the mid ‘60s, conflicts based on ethnic differences exploded on the national scene. They’re epitomized in the big-city musical created by geniuses of that genre. Add a focus on non-criminal, but still often deadly, formation of gangs, and you have a musical drama that is as current as classic.
The classic informing the book is Romeo and Juliet, with enemy families turned into rival street gangs, each hell bent on ruling their own territories. Accompanied by Leonard Bernstein’s powerful music, their mutual ugly facial and bodily expressions always threaten full physical violence.
You’re quickly aware of the colorfully dressed Puerto Rican Sharks led by Bernardo (Andres Acosta, full of anger) and their antagonism for the black-and-white clad Jets led by Riff (Amos Wolff, commanding). Rivalries play out in furious dances within Lee Savage’s tilted brick backs of tenements with fire-escape balconies, a dangerous dance hall, and a scrawny street with Doc’s drugstore. There, former Jets head Tony (now clean-cut Marc Koeck) works and hopes for a better future. His hopes are dashed when he meets Maria (Jenna Burns, sweetly innocent). They fall in love, and his stepping in to make peace between Sharks and Jets ends in the death of one and leads to a final murderous confrontation. You’ll appreciate Koeck’s Tony’s tender vocal falling for “Maria” and her equally vibrant voice anticipating with his a loving “Tonight.” Maria’s best friend Anita (vivacious Mary Antonini) warns her about “A Boy Like That” but, even though Anita loves the fiery Bernardo and his stance, they both justify their choices in the duet “I Have a Love.” Anita has herself led her gang of girls in an uncompromising satiric song and dance about life for them in “America.” You feel she’ll figure in the cause of the climactic gang rumble. Everyone in the cast performs with brio, even--in their adult roles--Kenn Christopher as Doc and Officer Krupke and Steven Sean Garland as a police lieutenant and Glad Hand. Enhancing the music and wonderfully choreographed dancing, a substantial orchestra led by Donald Chan seems a part of the action. If I have any problem here, it’s with the direction that sometimes changes from realistic dramatic to presentational musical performance. It’s a bit disconcerting, for instance, on Maria’s bed to have her turn from Tony next to her to singing at the audience. You can find other instances when dancers play directly to you instead of their rivals. I’ve just seen three Broadway musicals with no such confusion, and I think eliminating it would make Asolo Rep’s season opener absolutely perfect.
