Berkshire on Stage

This confession may very well get me drummed out of the musical theater corps of critics and aficionados alike, but in all fairness, it has to be said. I do not like Sondheim. I have never liked Sondheim. I KNOW Sondheim will never make it to my personal play list….if I had one. Having said that, even with acknowledging that Sondheim was responsible only for the lyrics, I admit it was with a certain reluctance that I headed off to this season ‘s opener of West Side Story at the Mac-Haydn Theatre, fully expecting to simply endure an evening of yet another production of “ Teen Age Star Crossed Lovers Sing and Dance.”

Two and a half hours later, how happy was I to concede that my trepidation was for naught. Director and Choreographer Bryan Knowlton, with an able sidekick in Associate Director and Choreographer Elizabeth McGuire, have given us their version and vision in a gloriously re-imagined, contemporary, innovative, and moving production. And while I am not sure Master Shakespeare ever envisioned dancing gangs, movable tenement balconies, and positively balletic rumbles, I have no doubt that he would wholeheartedly approve how Knowlton and Maguire have been inspired by his work, giving this classic tale a new level of sophistication and depth. The glorious performances of the young, vibrant, marvelously diverse, and most of all talented cast, the majority of whom are making their Mac-Haydn debut, came as close as may be possible to make me, if not a full convert, at least a more awe-struck appreciator of Leonard Bernstein’s incomparable music and Sondheim’s lyrics. Consequently, I am more than pleased to declare that, in my opinion, the Mac’s West Side Story is a most worthy season opening production, setting the bar perhaps almost impossibly high for all the shows to come this season.

For the sake of brevity, I will not belabor all and sundry with a plot synopsis, or recap the plot in detail. In a nutshell, Knowlton, and McGuire give us a modern and contemporary take on the Hatfields vs. the McCoys…on steroids…in the Big City. If there IS anyone who is not familiar with this iconic musical, which burst onto Broadway in 1957, or whose education failed to include the inevitable ubiquitous reading and study of Romeo and Juliet, I urge you to perhaps both remedy that omission with a “jolly good read,” as one of my favorite English professors was wont to say, and assure you that you not need the academic experience, to thoroughly understand and appreciate this show. The audience will immediately be drawn into the tale of star-crossed lovers, who with their friends, their families, and their enemies rumble, duel, spar, struggle, search, love, fight, and die in a gloriously music and dance-filled production.

In any case, the plot is self-explanatory, and in this production, it is the performances that matter, and what performances we are gifted with. Virtually every performer in a lead role, indeed almost the entire cast, is making their debut at the Mac. They more than hold their own against the returning Mac “alums,” creating a cohesive company clearly dedicated to their characters and their performances. It was a joy to watch so many newcomers perform as seasoned veterans, and to anticipate their continued presence and development over the season ahead.

Jared Goodwin as Tony steps onto the stage as a wanna-be All American boy, struggling to make a clean break from the Jets and their gang lifestyle, but ultimately doomed by his desire and his determination to somehow, somewhere, “force” a reconciliation, a cessation of hostilities, even a bonding between the Jets and the Puerto Rican Sharks gang….all for the love of, and in the name of Maria. He fills the first notes of “Something’s Coming,” with longing, with anticipation, with hope and with optimism, and carries it through to the very last note . He also has a wonderful physicality about him, displaying lithe, sinewy movement, hip twists and twitches, particularly A bravura debut performance indeed.

Paula Gaudier’s Maria is an ethereal, innocent teen age girl filled with dreams and hopes for the future she came to search for in America. Clad in a virginal white dress, she swirls about her bedroom, anticipating the upcoming night and the days to come, and begins to bring us a character we will laugh with, dream with, and ultimately cry with. But it is Gaudier’s voice that truly brings Maria to life. What a glorious, pure, rich, strong soprano soars through the theatre as she anticipates her dreams coming true “Tonight.” and she faultlessly captures the essence of a giddy girl in love with “I Feel Pretty” She and Goodwin are equally impressive partners in their duets, matching each other note for note, and creating stand-out signature moments more than once. Gaudier acts as well as she sings, evolving from dreamy-eyed innocent girl, to a woman newly-awakened by the discovery of love, to a shattered, almost world-weary at too young an age woman mourning the loss of her love to violence, rage, racial prejudice and a world far from what she and Tony believe is possible if they can simply be one hand, one heart, together. Gaudier may be the breakout star of the season….let us hope her considerable talents will be offered to audiences in the weeks to come.

Griffin Wilkins’ Riff gives us is a combination Boy Next Door/Tony’s Best Friend/ Gang Leader of the Jets, a teen age James Dean cum Wally Cleaver. He swaggers and struts his way through the NYC streets, taking command of his gang with the Jet Song and Cool, until dying in a senseless blaze not of glory but blood. Wilkins has clearly embraced his role, and makes the most of his time on stage.

Ariellys Reynoso turns in a performance as Anita that grows, strengthens and deepens as the show progresses. Sharp-tongued and acerbic, she boldly and with great flair and passion declares her loyalty and love for her new life in “America,” which is brilliantly choreographed, and executed flawlessly with all the flair, precision and exuberance the number demands. Reynoso shineswith her Act Two delivery of “A Boy Like That” that is filled with all the anger and heart-wrenching pain she feels at the death of Bernardo, at the hands of his sister’s love. Another outstanding debut at the Mac.

Caleb Bermejo as Bernardo presents a darkly menacing figure as Sharks leader, and protective brother, zealously attempting to guard his sister Maria’s virtue, until his untimely death at the hands of Tony. Chalk up another promising debut !

Mention must be made of Tzintli Cerda as Rosalia, whose character mingles unassumingly and almost invisibly with the general rivalrous rabble …until she stops the show with the her soaring offering of “Somewhere”, as for a few brief moments, differences are set aside, rivalries dropped, and both sides literally come together nited in common grief Her voice rang out over the hushed stage and house, and the few seconds of silence that ensued as the last notes died away testified to the truly special moment the audience was privileged to experience.

Without exception, the remainder of the large cast offer up fine performances,and while they are too numerous to mention individually, be assured that their enthusiasm and commitment to their work is palpable and true, and they were entirely deserving of the standing ovation they received at the Opening Day evening performance. In their non-singing roles Craig Capone as Doc, George Phelps as Schrank, and Bernard Scahill as Officer Krupke each make strong impressions with their characters, Capone being especially fine.

In an interesting bit of staging, throughout Act Two, Riff and Bernardo appear and waft through the ensuing action and denouement, much like Banquo’s ghost in the Scottish play. Dressed in ghostly grey and now side by side in eternity rather than facing off as they did in life, they loom over virtually every scene, sorrowfully watching, silently observing, perhaps even passing judgment from the Great Beyond. Although one of my companions found this a tad on the distracting and odd side, I thought it was a rather intriguing and thoughtful choice.

The choreography that fills the show is, simply put,without flaw. Knowlton and Maguire have assembled a cast who deliver bold, brassy, athletic, movement, every move sharp, precise and perfect. Jerome Robbins would be proud. I am not convinced your typical street gangs rumble, dance, fight, and simply move with such balletic athleticism and grace as they do here, but the Prologue, Jet Song, Dance at the Gym and especially the climatic rumble that brings Act One to a tragic end are joys to watch for the sheer precision, sharp movement and synchronicity of movement Knowlton and Maguire have achieved while wearing their Choreographers’ chapeaux. Not a single dance number is less than precisely executed.

As has come to be expected from his efforts, Andrew Gmoser’s lighting design is nothing short of perfection. Hot reds and almost jaundiced yellow cover the swaggering, bravado-filled, borderline menacing “Jet Song,”while swirling kaleidoscopes of color bathe the “Dance at the Gym”, where Jets and Sharks and their ladies “jockey in dance” for position, turf, and superiority. The climatic Rumble that brings Act One to its tragic close is a classic and beautiful example of Gmoser’s work, and the entire show is lit to exquisite perfection.

Scenic design by Alivia Cross perfectly captures the gritty, urban essence of Inner City U.S.A., with its presentation of grey black, shadowy, dark iron tenements, city streets, dance halls, and alleyways. Scene changes are executed seamlessly by the cast, transitioning streets to bridal shoppes, and drugstores to bedrooms with simple but impactful set piece placement. A mirror frame, mannequins, a table and chair, a strategically draped bathrobe—all set the scenes in play with subtlety. The “Balcony Scene,” taking place during the “Tonight Quartet” is a particularly innovative, unique and clever design,highlighted with the rotating, rolling, spinning “balcony” piece maneuvered with precision and seeming ease by the cast with Tony and Maria atop.

Costumes by Hannah Sadler merit their own mention for her thoughtful and character-defining design. Her choice to dress the Jets in “all American” denim, collared polo-style shirts clearly gives them the American identity they lay claim to, regardless of their immigrant status being almost equal to their Puerto Rican adversaries, while soft cotton, gingham prints, neatly hemmed and pressed cotton dresses, and softer florals give the Jet girls their fresh-faced American girl next door look. The vibrant, bold solid color, swirling satiny dresses, as well as bright tropical and hot color floral prints for the Shark Girls boldly proclaim their Puerto Rican heritage, while the more flamboyant shirts, over black t-shirts on the Sharks are perfect attire for the Sharks.Kudos all around.

And after two and a half hours, it is finished, The lights fade, the living are left to mourn their dead, reflect on where they have been, remember where they have come from, and contemplate where they may be going. And in the end, this edgy, gritty, raw urban retelling of a tragic tale as old as time reminds us that we all have come from “Somewhere,” and, in a perfect world, we should all pray that there will be a place for us. All of us. Together.

West Side Story. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Based on Shakespeare’s Romeo and Juliet. Based on a conception of Jerome Robbins.

Directed and Choreographed by Bryan Knowlton. Associate Director/Choreographer Elizabeth McGuire. Music Director: Eric Shorey. Assistant Music Director: Matt Levinstein. Costume Design: Hannah Sadler. Scenic Design: Alivia Cross. Lighting Design: Andrew Gmoser. Sound Design: Sean McGinley. Props Design: Clay Cates. Hair and Make-up Design: Emily Allen. Technical Director: Cody Kane.

Cast: Paula Gaudier ( Maria). Jared Goodwin (Tony). Ariellys Reynoso(Anita). Griffin Wilkins (Riff). Caleb Bermejo (Bernardo). Tanner Kirol (Avtion). Chris Agaliotis (A-Rab). Alexander Agaliotis (Baby John). Benjamin Yantis (Diesel). Bella DePaola (Graziella). Zoe Schneider-Smith (Velma).Jordan Speer (Dinah). Abbie Ruff (Anybodys). Fernando Flores (Chino). Marvin Gonzalez (Pepe). Nathan Diaz (Indio). Anthony Michael Velez (Moose). Jamie Camejo (Francisca). Ana Viveros (Consuelo). Tzintli Cerda (Rosalia). Craig Capone (Doc). George Phelps (Schrank). Bernard Scahill (Krupke/Glad Hand). Fiona Phelps and JJ Razzano (Ensemble Swing)

West Side Story runs June 13 through June 23 at the Mac-Haydn Theatre. 1925 Route 203. Chatham, NY 12037. Call (518) 392-9292 for tickets. Running time is 2 hours, 20 minutes including intermission.

http://www.machaydntheatre.org/