Flawed, but Still Powerful

"West Side Story" is a landmark in the history of American musical theater. It set a contemporary social problem to music. And to dance. And though the images of gangs and juvenile delinquency have changed since 1956, when the play opened on Broadway, the racial skirmishes so evident then are still with us. With memorable music by Leonard Bernstein, lyrics by Stephen Sondheim (his first major production), book by Arthur Laurents, and direction and choreography by Jerome Robbins, the show received rave reviews, though it lost the Tony Award to "The Music Man."

The music and lyrics resonate; the book, however, has not aged well. There’s a lot of dust on expressions like "Daddio" and "Stay cool, boy." In addition, 1950s morality did not allow four-letter words on the stage, though they were as basic to street jargon as they are today.

The story line, based on Shakespeare’s "Romeo and Juliet" is, by today’s standards, sentimental and melodramatic.

The show, despite the power of the music and lyrics, is close to being a museum piece. However, Bernstein’s glorious music ensures that the play will be long-remembered.

Barrington Stage Company’s production is a mixed bag. Chris Peluso and Julie Craig, as the star-crossed lovers Tony and Maria, have compelling voices, Craig especially. Craig’s "I Have a Love," sung with Jacqueline Colmer’s Anita, is heart-rending. On the whole, the vocal ensemble serves the music well. The dancing, so vital to the production, is another story. The men seem labored and not quite sharp, whereas the women are energetic and vibrant, especially in "America."

In a musical, acting often takes a back seat. In this case, much of the acting is over the top with a lot of yelling and stressing of individual words to make a presumably dramatic point. Subtlety and nuance are missing in this production. Less, here, would be more. There is also a disparity between the ages of the actors and their characters.

The set by Luke Hegel-Cantarella and the lighting of Scott Pinkney enhance the production, though the tenement backdrop, which is always on view, could use more grit.

Many of Anne Kennedy’s costumes for the men look too fresh to me, and not right for the period, but the women’s clothes are colorful and right for the ’50s.

The choreographer, Joshua Bergasse, has used Robbins’ original staging, though reduced the number of people because Barrington’s stage is smaller. This is where the production finds its dynamic quality. Though the men fall short, the vigor of the choreography makes each number work; and the "Somewhere" ballet is especially telling. Darren R. Cohen, conductor/music director, leads an 11-piece orchestra that makes the most of Bernstein’s powerful and sensitive music.

Despite the flaws, Julianne Boyd’s direction is energetic. She has mounted a credible production. And though the climax could be cleaner, the show is worth seeing.

"West Side Story" runs through July 14 at Barrington Stage’s theater in Pittsfield, MA, on Union Street.

For tickets and for information, call 413-528-8888, or go to www.barringtonstageco.org

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