Combining the classic tale of star-crossed lovers separated by tradition and conflict and racial tensions between two groups on the streets of a city, West Side Story hits the stage at Virginia Rep at a time when the world seems rife with conflicting group interest, resulting in violence and disagreement.
Directed by Nathaniel Shaw, Artistic Director of Virginia Rep, the musical is a classic right out of the tail end of the Golden Era of theatre from the early to mid 20th century. “Directing West Side Story is an honor,” Shaw said. “There are few projects in my mind that are either on the same plane of excellence as West Side Story.”
West Side Story transcends time by taking factors of Romeo and Juliet and adding a racial component, pitting Puerto Ricans against white New Yorkers. Maria, of the Puerto Rican Sharks, falls in love with Tony, a white Jet. Their love is separated by the long-standing feud between the Sharks and the Jets. But, as fate would have it, nothing can keep two lovers apart, not even a racial feud that results in violence in the alleys of New York City. This last point is what makes West Side Story a timeless tale, since the United States knows racial violence all too well, especially in light of the surge in presence of white supremacists.
Photo by Jason Collins
The Spanish-flavored number “America” receives new meaning in the current political climate, especially as it pertains to immigration. The Shark Girls argue over the homeland of Puerto Rico and their new home in America, both in defense and in criticism. No cultural, social, or political topic is safe from criticism in this song, including the blatant recognition of the fact Puerto Rico is a territory of the United States, even when many fail to acknowledge it. Perhaps the most bitter-tasting pill within the lyrics of this number is, “Life is all right in America/If you’re all white in America,” commenting on the racial component that impacts one’s success as an immigrant and citizen within the nation.
“Immigration right now, particularly Hispanic and Latino immigration, is as hot as it’s ever been,” said Shaw. He acknowledged the crisis in the detention centers holding immigrant children, and how that has fueled the passion, creativity, and dynamics within the show. “I think [that] has reconfirmed America’s very complex history of immigration and immigration particularly of non-white populations,” he said.
On a less political note, the musical aspect of this show also makes it timeless. As Stephen Sondheim’s first taste of lyrical success, West Side Story offers memorable ballads, duets, and group numbers, including “Tonight,” “Maria,” and “Gee, Officer Krupke.” With lyrics by Sondheim and music by the incomparable Leonard Bernstein, it is without saying that West Side Story will leave you humming once the curtain falls.
Photo by Friedman-Abeles/New York Public Library for the Performing Arts
The choreography by Matthew Couvillon honors the late Jerome Robbins’s original choreography, but brings it to a new level. With musical direction by Anthony Smith leading the orchestra to sound its best, West Side Story is a classic slice of the American musical that should not be missed by anyone.
The gangs ooze coolness. The young romance is saccharine but all-too-familiar. But most importantly, the relevance West Side Story possesses greater importance now more than ever. The beauty of theatre partially resides in its political commentary. Not only is there value in the form of singing, dancing, and production, but this classic musical takes a new meaning as the news is rife with immigration legislation, violence, and young lives taken too early.
West Side Story opens Friday, June 22, at the November Theatre, and runs through July 29. Tickets are already selling fast, so get yours here.
