An Energetic ‘West Side Story’

This year marks the 40th anniversary of Leonard Bernstein and Stephen Sondheim’s classic musical “West Side Story.” The reasons for the show’s continuing popularity and, more important, its relevance are evident in the national touring production that stops this week for three nights at Cerritos Center for the Performing Arts.

The Bernstein-Sondheim version of “Romeo and Juliet,” set in Manhattan’s upper West Side, updates the love story with a very serious message about racial bigotry and the disastrous effects of ghetto thinking. Like Shakespeare’s original, it ends in tragedy, in 1957 a startling turn for a musical.

But the story still can be read in today’s headlines about gang violence, racial hatred and the fear that begets both. Arthur Laurents, who wrote the book, understood that such problems would not be solved in his lifetime, nor ours, nor our children’s. That’s why “West Side Story” still touches the heart.

There’s also the gorgeous Bernstein score, emblazoned with Sondheim’s lyrics, and all that electric dancing. The original director, Jerome Robbins, broke new ground in staging and choreography; it’s an early example of how powerful masculine dancing could be. Kevin Backstrom re-creates that vitality with respectful fidelity to the source, delivering a dandy valentine to Robbins’ invention.

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Although this is a non-Equity company, the cast’s professionalism showed in the ease with which it handled one of those “the show must go on” mishaps.

Enrique Acevedo, who plays Bernardo, the leader of the Puerto Rican gang the Sharks, and whom Orange County audiences know for, among other roles, his marvelous Julio in Fullerton Civic Light Opera’s “Paint Your Wagon,” injured his leg in the second scene. After hobbling on for a time, he tapped his understudy, C.J. Carreras. Carreras acquitted himself admirably throughout, and without a post-intermission announcement of the change, many audience members might not have noticed.

Another Orange County veteran, Fullerton’s Brent Schindele, who first played Tony in the seventh grade, is just right for the teenage Romeo who falls for Bernardo’s sister. As Maria, Samantha Lasch is charming, if a bit too whitebread, and her rigorous soprano matches Schindele’s tenor nicely.

Andy Tyler seems a little mature as Tony’s best friend, Riff, leader of the Anglo gang the Jets, but he carries off the role with energy, and Jannette Clemenceau’s Anita has depth and color, and her numbers are vibrant.

Fred Armstrong, who plays the owner of the drugstore where Tony works, fails to find the realism the younger cast members do, but that’s not the case with Walter Milani, as the racially bigoted police lieutenant who hates the Puerto Ricans, or with David Sinkus as the stereotypical clump of a policeman, Officer Krupke.

From the lilting love duets to the vaudeville-flavored “Officer Krupke” number, this company has the youthful energy this show needs, and the honesty to make it seem real.

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* “West Side Story,” Cerritos Center for the Performing Arts, 12700 Center Court Drive, Cerritos. Thursday, 8 p.m. Ends Thursday. $40-$55. (800) 300-4345 or (562) 916-8500. Running time: 2 hours, 40 minutes.

Brent Schindele: Tony

Samantha Lasch: Maria

Jannette Clemenceau: Anita

Andy Tyler: Riff

Enrique Acevedo / C.J. Carreras: Bernardo

C.J. Carreras / Raphael Alvarez: Chino

Alan Scott: Action

D.J. Chausky: A-Rab

Alyson Jackson: Anybodys

Fred Armstrong: Doc/Glad Hand

Walter Milani: Lt. Schrank

David Sinkus: Officer Krupke

A Jeriko Entertainment production of the Arthur Laurents-Leonard Bernstein-Stephen Sondheim musical. Original direction and choreography by Jerome Robbins reproduced by Kevin Backstrom. Scenic design: Michael Allen. Lighting design: Natasha Katz. Musical direction: Tim Hubler. Costume design: Irene Sharaff. Sound design: Bruce Yauger, Cowboy Mayers. Hair design: John Heinis. Stage manager: Ingrid Kottke.