West Side Story - The Muny

There are few modern musicals that are as well-written, and in this production, well-done as West Side Story. Arthur Laurents’ book, while placing the action clearly in the 1950s, moves quickly and respects the oft-forgotten unity of time. Stephen Sondheim’s lyrics reflect the simple, humble histories of their characters, even if they are some of his least-favorite songs (e.g. “I Feel Pretty”). The best of the show, however, gets split between Leonard Bernstein’s amazing score and Jerome Robbins’ breathtaking choreography. The music grabs the audience and holds it captive for two and half hours, and the dancing wows the crowd with one amazing combination after another. Never mind these boys are in gangs – they can dance!

The material is very challenging – there were two replacements for Riff alone before it opened – but the cast was well able to give it to everything it needed. Mathew Scott (Tony) doesn’t look quite Polish, but he’s a big improvement over the Muny’s last Tony: Eric Kunze. He can act, dance, and sign – all at once!

Andrea Burns (Maria) was last seen as Mary Magdalene, and I think he does better with material, even if her accent isn’t the best. Her weak accent is noticeable when she’s with the other Puerto Ricans, but oh well. She’s at her best with she’s with Scott, and if I had to pick between an authentic Spanish accent or good chemistry with Tony, I’d take the latter.

Natascia Diaz (Anita) puts in an amazing performance. She is a powerful actress in her own right and she pulls through well in some difficult numbers (not just “America,” but also “Tonight (Quintet and Chorus)” and “A Boy Like That”).

The Jets’ and Sharks’ – the two rival gangs – members can get lost in all the romance, but their roles are huge. Tony and Maria make the show romantic, but the gangs make their love so tragic (or “star-crossed” as some would say). Where does one demonstrate this? In “Tonight (Quintet and Chorus);” the rumble under the bridge; the nightmare of “Somewhere;” The Jets’ taunting of Anita; Tony’s death? Any number of these events shows the importance of the ensemble for this show. Thankfully this ensemble is up to snuff. I don’t have the space or energy to offer laurels to each actor for their work, but each deserves them.

Not only do they sustain the energy (anger?) so well, but they sing and dance well too. I suppose that a higher quality of ensemble is the natural product of holding open auditions in New York instead of automatically bringing last year’s chorus back. As I said earlier, I think that the music and the dancing are the best parts of the show, and the ensemble does them justice. To their credit, Bernstein’s irregular rhythms and strange harmonies (who else uses a tri-tone for a melody in not only one but two songs?) aren’t easy to master, but this cast doesn’t have a problem with his complicated score. They also have a good handle on Robbins’ choreography. Not only is there so much of it, but it’s also very demanding. Unlike 42nd Street, where tap takes center stage, this dance requires the entire body’s participation. It’s a wonder that the cast only had two injuries, then.

In my opinion, this show is the highlight of the entire season. Nothing has come close to equaling West Side Story’s beauty, appeal, and timelessness. It is truly in a league of its own.