by Michele Markarian
“West Side Story”. Book by Arthur Laurents. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Directed and Choreographed by Rachel Bertone. Music Direction by Dan Rodriguez. Presented by Reagle Music Theatre of Greater Boston, 617 Lexington Street, Waltham through July 16.
From the opening scene of “West Side Story” – chaotic and cacophonic– to the final image of Maria (Eevie Perez) kneeling alone in mourning onstage, we feel the heat and tension of New York, with its rival gangs, prejudice, and libido. No matter how many times I’ve seen this show, the music, choreography and storyline, based on Romeo and Juliet, never fail to hold my attention, with each director’s vision capturing something slightly different. Bertone’s version is no exception.
The rivalry between the native-born Jets and the Puerto Rican Sharks is fueled by hate and fear. When Jet Tony (Blake Du Bois) and Maria, sister of the Sharks’ leader, Bernardo (Diego Klock-Perez) see each other at a local dance, it is love at first sight. It is unthinkable that such a love can exist outside of one’s social group, but passion ignites hope and goodwill in the doomed lovers, who mistakenly believe that they can make things right. There is no adult supervision or guidance with the exception of kindly drugstore owner Doc (Rick Sherburne, whose good advice goes unheeded), the hapless Office Krupke (Jean-Alfred Chavier), the clueless Gladhand (a very funny Conor Meehan) and the nefarious Lieutenant Schrank (Todd Yard). Yard’s Schrank is menacing and underhanded, making it clear that he is on the side of the Jets, in an effort to send the Sharks back to where he thinks they belong. Oddly enough, the menacing, Shark-hating Riff (Jack Mullen) doesn’t succumb to Schrank’s attempts to make him rat out the Sharks. The mistrust of adults runs even stronger than the mistrust of Other. As Action (the dynamic Nate Walsh) shouts at Doc, who is trying to give him avuncular advice, “You was never my age”.
Bertone, one of the best directors and choreographers of musical theater in Boston, has assembled a cast that’s up to the task. All of the Sharks and Jets are agile and able dancers as well as marvelous vocalists. Bernardo (Diego Knock-Perez) is tightly coiled, except when he is dancing with Anita (Bianca Rivera-Irions, the most elegant Anita I’ve ever seen). The two of them have a chemistry that’s lovely and dynamic; Klock-Perez’s Bernardo’s wide grin as the two of them mambo lets us know he can’t believe he’s landed such a knockout. Rivera-Irions is indeed a graceful, long-limbed dancer who is marvelous to watch; her Anita is in turn haughty, playful, and ultimately tragic. DuBois and Perez have two of the hardest roles in the show, the naïve, lovestruck boy and girl who are blithely unaware of the danger and prejudice surrounding them. Both of them have incredible voices that blend well together. DuBois plays Tony with an easygoing charisma, while Perez’s initially demure Anita shows strength and bite in the final scene. The beautiful “Somewhere” is given to Anybodys (Gracin Wilkins) to sing, who does a touching, plaintive rendition.
Kudos to Fight and Intimacy Director Angie Jepson, who creates some of the most vivid and realistic fight scenes I’ve ever seen onstage, including a harrowing scene in Doc’s Drugstore between the Jets and Anita. Janie E. Howland’s Set Design, in tandem with Franklin Meissner Jr’s Lighting Design, has some truly transformative moments, particularly the transition from the Bridal Shop to the Dance Hall. It’s Bertone and Rodriguez who bring out the very best in this cast, and made this reviewer feel like she was watching “West Side Story” for the very first time. For tickets and information, go to: https://www.reaglemusictheatre.org/
CONCUR! The production was top-notch!