Onstage: West Side Story

Despite its cramped stage, The Carnegie’s staging has many elements that pay homage to the original.

Jan 13, 2015 at 1:32 pm

When West Side Story debuted on Broadway in 1957, critics agreed that the show would influence the course of musical theater — especially Jerome Robbins’ imaginative use of choreography to deliver the emotion and momentum of the modern-day retelling of doomed lovers, inspired by Romeo and JulietWith Leonard Bernstein’s Jazz-infused score and Stephen Sondheim’s first Broadway outing as a lyricist (he was just 26 at the time), the show was an instant hit. It went on to become an Academy Award-winning movie in 1961, and those elements were key to its success. Anyone who attempts to stage the show today is required to hew close to the original. 

Despite its cramped stage, The Carnegie’s staging has many elements that pay homage to the original. The 14-musician orchestra, conducted by William White, sounds great, especially Kyle Lamb’s rhythmic contributions on percussion that are so much the DNA of Bernstein’s score. Also dynamically present is the energetic dancing: Choreographer Jay Goodlett has the large cast constantly in motion and executing Robbins’ iconic moves. Virtually all of The Carnegie’s cast are serious dancers as well as singers, especially Brian Bailey as Riff. 

The show requires great voices, too, and director Brian Robertson has assembled an array of highly trained singers. As Maria and Tony, Abigail Paschke and Marcus Shields are powerful, but too often their operatically trained voices make their teenaged-lover characters less than believable. Not so with Layan Elwazani as the fiery Anita and Darnell Benjamin as Maria’s brother, the ill-fated gang leader Bernardo: Their strong performances combine voice and movement in a convincing and engaging manner. The full cast’s rendition of “Tonight” finishing the first act is thrilling. 

Robertson made a curious choice in the show’s conclusion. Instead of ending with a modestly hopeful rapprochement between the warring gangs, Robertson has chosen to close the second act with Maria mourning over Tony’s body as the music swells. It’s operatic in feeling, to be sure, but it misses providing the optimistic message usually conveyed.

West Side Story, presented by The Carnegie, continues through Jan. 18. $21-$30. 1028 Scott Blvd., Covington, Ky., thecarnegie.com.