AACT's Lively 'West Side Story' Glides Over Glitches

AACT's lively 'West Side Story' glides over glitches

By CHRISTOPHER POTTER

NEWS ARTS WRITER

REVIEW

"West Side Story” is such a grand, galvanic spectacle it’s hard to believe this legendary musical was only a modest Broad way hit back in 1957. It didn’t even win the Tony Award tor best musical, which instead went to “The Music Man.”

Perhaps theatergoers weren't prepared to accept “Romeo and Juliet” updated to a setting among New York City gang wars. Perhaps they felt jarred by a musical with a tragic ending, or a show with soaring operatic and balletic ambitions.

Nearly 40 years later, this now-beloved work is still one of the most fiendishly difficult of all musicals to stage, given the geniuses who gave it birth (Leonard Bernstein, Stephen Sondheim, Arthur Laurents and Jerome Robbins).

Thus all credit is due director-choreographer Linda Spriggs for nurturing a large, non-professional Ann Arbor Civic Theatre cast into a stirring rendering of this hugely challenging show.

‘"West Side Story" opened last night at Power Center, and suffered opening-night snafus. Several light cues were flubbed and a couple of pieces scenery were nearly torn off their moorings.

Music director Jim Nissen conducted with his usual aplomb, but his undersized nine-member ensemble simply wasnt sufficient to properly render Bernstein's near symphonic score.

And yet Civic's production is still a thriller, as star-crossed lovers Tony (Scott piper) and Maria (Christina Clark) seek a world of love and peace amidst Jets-vs.-Sharks warfare. Spriggs' choreography is a gorgeous kaleidoscope of motion, m which even “West Side’s” multitudinous mobile sets (by Rolfe Bergsman) often seem to twirl along to the music.

The show contains generous choreography as well: In the show-opening Jets-Sharks ramble, each dancer is given the chance to be an individual, to establish character by doing his own thing even while melded into a dynamic whole.

Spriggs rekindles luscious '50s memories in the gymnasium dance, and gives the show’s best song (to my mind), “America, its full high-kicking blazing-spirit due.

“West Side” offers rigorously color-blind casting, and pulls it off without a hitch Spriggs has strong leads in Piper and Clark line actors with gorgeous singing voices.

"Ryan Bailer and Michol C. Sherman radiate testosterone as gang leaders Bernardo and Riff; and while one might wish Linda Quiroz was more uninhihited as Maria's sultry friend Anita, she’s still a first-rate actress.

Especially good in supporting roles are Brian S. McClemens as hot-headed Jet Action, Catherine Marsh as pint-sized tomboy Anybodys and Don Sandberg as soda-shop owner Doc, the show’s adult moral conscience

Sometimes “West Side’s” quiet moments work best, such as Tony and Maria's touching mock-wedding song, "One Hand, One Heart.” Interestingly, the comic number “Gee Officer Krupke” takes on a new contemporary relevance: The Jets self-mockery of their “social delinquency" could almost be a conservative anthem of the 90s. Listen closely to the lyrics.

For that matter, listen closely to everything. Despite some jitters last night, this production will only get better. By Saturday evening they may be giving Broadway a ran for its money.

“West Side Story" will continue through Sunday at Power Center For the Performing Arts, 121 Fletcher St. Curtain Thursday-Sat-urday is 8 p.m„ and there is a 2 p.m. Satur-day Matinee. For information call 763-3333.