| 'West' at its best
By Sally Applegate / Correspondent Wednesday, November 12, 2003 Bernstein's masterpiece in stunning production at North Shore Driven by Leonard Bernstein's powerhouse score, "West Side Story" transports Shakespeare's "Romeo and Juliet" to the west side of Manhattan. The racially charged story crackles with power, and the high voltage cast really delivers. Known as a dancers' musical and originally conceived, directed and choreographed by Jerome Robbins, this show has many spectacular large dance numbers. The North Shore Music Theatre production features a cast of exceptional dancers, and director/choreographer Barry Ivans knows just how to use them. The men are athletic and authentically tough looking, the women equally athletic and believable as hard-boiled inner city gals. Ivan's remarkably staged fight sequences and exuberant dances illuminate the dark story of a west side Romeo and Juliet, he a reluctant member of the Jets gang, she the young sister of the gang leader of the Sharks. As turf war and mindless racial hatred rages around them, the smitten lovers see only each other, caught up in something bigger than either of them. The contrast between their pure love and the gangs' savage hatred is what drives this musical. Soaring with Bernstein's brilliant melodies and the intelligent lyrics of Stephen Sondheim, the score effortlessly underscores the riveting story. Tall, handsome and athletic, Ryan Silverman as Tony is also one of the best tenors ever to make his way to the North Shore stage. Silverman is totally in control of his voice, which has moments of heartbreaking sweetness, can soar with unexpected power, deliver clear white tones and hold a note for unbelievably long intervals. "Something's Coming," and later "Maria" give him a chance to show all these gifts. He is also a convincing actor, pouring his heart into a doomed romance. Elena Shaddow as his innocent new love brings an elegant beauty and soaring soprano voice to the role of Maria. Shaddow and Silverman are sweet, natural and convincing in their early scenes together. As Act Two starts, Maria sings the famous "I Feel Pretty" with her friends, unaware two people have just died in gang violence, including her older brother Bernardo. This song, not everyone's favorite, offers a light counterpoint to the darkness lurking in the streets, and taken in the show's context is painfully ironic. The stunningly handsome Enrique Acevedo has played Bernardo before, winning a DramaLogue Award on the national tour. He glides catlike and menacing through Act One, convincing in his power, effortless in his dancing. Roxane Carrasco brings Bernardo's girlfriend Anita into gritty reality. Her dancing is electrifying, her voice - at times an intense whisper, at times a sexy purr - can also rise to fill the theater. She is wonderful in the savagely funny "America." In "A Boy Like That" Carrasco and Shaddow conduct an intense, musically interlaced argument, alto vs. soprano. With so much dancing in the show, one wonders why we need a white-clad, blue-lit dance chorus twirling slowly during the intensely private "Somewhere" between Tony and Maria. It creates an unnecessary distraction from this exquisite little scene. "Gee, Officer Krupke" offers many members of the men's dance chorus a chance to shine. Ivans has provided them with really funky choreography, and they are adept at comedy, especially Timothy Quinlan as Action. This is a show for adults, and young children should be spared its dark violence. That's too bad in a way, because people of all ages can appreciate its soaring melodies. |