Playhouse’s ‘West Side Story’ is grand

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.