[NEohioPAL] Review of "West Side Story" at PlayhouseSquare

[Bob Abelman]

Touring 'West Side Story' comes up short

 

Bob Abelman

 

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald 5/6/11

 

West Side Story is one of those musicals that can be done by a high school thespian society and still get an audience's adrenaline to rush, emotions to flow and pheromones to secrete.

 

Its story (Romeo and Juliet tweaked by Arthur Laurents and set in the upper west side of Manhattan in the mid-1950s) is powerful and evergreen.  

 

Its original staging (dynamic, groundbreaking choreography by Jerome Robbins) is so intertwined with the story that it is impossible to disregard. 

 

Its score (brilliant music by Leonard Bernstein and memorable lyrics by Stephen Sondheim) is impervious to ruin even in the hands of well intended but ill-equipped amateurs.

 

In the hands of professionals, such as the national touring company currently occupying the Palace Theatre at PlayhouseSquare, it should be flat-out magnificent.  It's not.

 

Of course, this production-on tour since September-has plenty going for it.

 

The staging, nicely reproduced from the original work by choreographer Joey McKneely and director David Saint, is stunning.  Everyone in the cast handles Robbins' stylized street ballet with astonishing grace and raw athleticism.  In fact, the big dance numbers-the face-off in the gym that establishes the divide between the Anglo Jets and Puerto Rican Sharks, the playful "America" number involving the Shark women, and the "Somewhere" dreamscape-are  breathtaking.  

 

James Youmans and Howell Binkley's scenic and lighting designs nicely capture the dangerous, decaying west side neighborhood created for the 2009 Broadway revival, which was inspired by the original 1957 Broadway production and the 1961 film.   

 

An innovation from the Broadway revival-Spanish spoken by the Sharks while on their own turf and during such songs as "I Feel Pretty" and the "Tonight" quintet-makes its way into this production and is very effective.

 

A bi-lingual production gives the play an added sense of authenticity and takes nothing away from the dialogue or Sondheim's lyrics.  Indeed, the acting is so expresiva y las lyrics son tan reconocibles that the words son fácilmente discernible a personas que no hablan español.   Even if una palabra o dos o tres is lost, su significado no lo es.

 

The cast boasts of some wonderful performers.  Ali Ewoldt plays Maria, the Juliet-esque sister of Sharks leader Bernardo.  She has the look (stunning), the voice (a lovely, belting soprano) and the presence (strong yet delicate) to melt your heart during "Tonight" and "One Hand, One Heart."  She carries this production-that is, until May 8, when she is replaced by an understudy for the rest of the Cleveland run.  

 

Michelle Aravena is a force to be reckoned with as Anita, Bernardo's girlfriend.  This role is forever defined by its original Broadway and film occupants, Chita Rivera and Rita Moreno. Yet Aravena finds her own unique soft spots and hard edges to make Anita her own, and owns the stage when she sings and dances.  

 

The same can be said for petite Alexandra Frohlinger as Anybodys, the androgynous gangbanger wannabe.

 

All the Shark boys and girls led by a wonderful German Santiago as Bernardo, and all the Jet boys and girls, particularly Drew Foster as the affable Action, are built like hoodlums yet perform like seasoned stage professionals.

 

Except for Joseph Simeone as Jet leader Riff and understudy Cary Tedder as Maria's beloved Tony.  They are serious distractions in an otherwise fine production.  Simeone was clearly cast for his dancing, for his acting is stilted and his singing is not nearly up to speed.  Tedder has a sweet voice and can hit all the high notes, but he cannot sustain them or hold his own during duets with powerhouse Ewoldt.  Nor can he hold his own physically or emotionally during the couple's romantic moments.  

 

The few adults in this world-thankless roles, really-are terribly overplayed. 

 

This production employs local musicians to perform with a handful of touring ringers.  On opening night, the music lacked the same energy and confidence (and, occasionally, the same tempo) as the actors on stage.   

 

These lapses in the male leads, support roles and orchestration are enough to keep this production of West Side Story from soaring.  Sure this is still Laurents, Robbins, Bernstein and Sondheim in our midst.  But adrenaline swells rather than rushes, emotions surface but do not flow, and pheromones are, unfortunately, safe and secure.  

 

West Side Story continues through May 15 at PlayhouseSquare's Palace Theatre.  For tickets, which range from $10 to $75, visit www.playhousesquare.com.
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