Good Times 7/17/03

GOOD TIMES July 17, 2003

Arts & Entertainment
West Side Glory
Dynamite dancing, terrific music, amazing acting—‘West Side Story’ has it all
by Christa Martin

It’s all about the snap. Flick the thumb and middle finger together and just maybe you too can star in a Broadway-style show. (Well, it’s not quite that easy; there’s a lot more to getting cast in something like “West Side Story.” But the snap is a vital skill in that show.) To be a featured snapper (aka cast member) in the renowned musical, performers must possess the triple threat: sing, dance and act. And their talent has to be extraordinary to pull off such a musical locally—we want to be wowed. This summer’s performance of “West Side Story” at Cabrillo Stage surpasses our expectations. It is an exquisite show.

At the close of the opening night performance the dynamite cast received a standing ovation. That pretty much says it all. The review could end right here, but you need to know this: the show is hot, swanky, beautiful and full of vibrant talent. Everything about it is fantastic. (Purchase tickets now, as shows are likely to sell out.)

All that sizzles in “West Side Story” is especially impressive because Cabrillo Stage is riding on a slimmer budget than last year. But even with the weighty state and community college budget cuts this year, the show has gone on and the quality hasn’t suffered. This is to be expected because at the helm of Cabrillo Stage is artistic director Lile Cruse, who clearly will not compromise the quality of his shows, regardless of financial cutbacks.

But back to opening night. In Cruse’s and director Dustin Leonard’s show, the stunning orchestra—led by Cruse himself who also functions as the musical director—begins and we are transported to a slummy neighborhood in New York. The opening number goes on for some time which allows the audience to digest the powerful and elaborate sets: towering sides of buildings epitomize city living and are complete with token laundry strewn about on clotheslines. Everything from the lighting to the strategically placed props reveal that this is a professional theater company, meaning that the crew pays serious attention to detail and makes sure that everything works seamlessly.

After the musical intro, there are men—everywhere. They spill onstage and the dancing (fighting) begins. At this point I marvel once again about how this sleepy little town ended up with such a phenomenal professional company in its midst. We’re soon introduced to inner city gang life between two warring factions: the predominantly white group called The Jets and the Puerto Rican group, The Sharks. The costumes are perfect—jeans and tucked in T-Shirts, circa 1950-something. Not long into the show we meet Tony (Brian Staufenbiel), a guy who has had it with the gang scene and wants to do something else with his life. But his old pals won’t have it, especially Riff, the leader of The Jets. Riff wants Tony to come to a dance where The Sharks will be, which means at the very least some serious gang tension. Staufenbiel’s Tony immediately charms the crowd. He has a powerful, captivating voice and a charismatic presence onstage.
Soon we meet Anita (Izetta Fang) and her boyfriend Bernardo’s (Ted Zervoulakos) sister, Maria (Aimée Puentes). The two young women work in a bridal shop and they are also headed to the same dance.

The lights come up and it’s official dance time; here is where the choreography becomes the star of the show. The two gangs and their women dance it out onstage. Under the choreography direction of Trevor Little, even bad guys can bust a move. Little has created a fantastic dance number here, which is just one of the many scene-stealers. Throughout the show are a handful of non-singing dance pieces that are visually fascinating to watch. Equally alluring—if not downright show-stopping—are the many singing/musical numbers: ”America,” “Tonight,” “Maria,” “Gee Officer Krupke.” The cast is perfect: each player is finely suited to his or her part with bravado talent.

Stand out performances include those of the actors who play Maria and Tony (Puentes and Staufenbiel). Puentes at first appears to be a naïve, dreamy girl, but the second she starts singing it’s clear that there’s a woman inside that delicate exterior. Her dynamic operatic voice is quitestunning. Paired up with her love interest Tony (a reluctant member of The Jets, the opposition to her brother Bernardo’s gang) the duo belts out a number of tunes together that warm the heart of any romantic. Other actors whose professional verve strike a chord: Fang (Anita) and Zervoulakos (Bernardo).
During the “dance” number at the gym, young Maria has no one to dance with until the very end when she and Tony meet. Their chemistry is undeniable. But Bernardo doesn’t want his sister with someone like Tony. It is from this point that the plot kicks into action—it’s a love story based on the Romeo and Juliet tale. This means that Tony and Maria’s desire for each other becomes in essence the plumb line through the rest of the show. And of course, such a love story cannot go untangled. Just like with Shakespeare’s Romeo and Juliet the lovers will do anything to try and stay together, yet the forces surrounding them will stop at nothing to end their relationship.

In “West Side Story,” the climax is a rumble (a fight) between The Jets and The Sharks. The choreography for this scene is superior—every punch, kick or leap is perfectly timed and offers the illusion of a real street fight. It’s a giant brawl and two young men lose their lives. Maria gets word that her brother has died at the hands of her lover, Tony.

Meanwhile, during all the chaos and romance, the orchestra ushers us along from scene to scene. Led by Cruse, the orchestra is so successful in its relationship with the performers on stage that there are moments we forget that an entire company of musicians is coaxing us through the story. And then we suddenly remember the oft-overlooked group and congratulate both them and the cast after every number with hearty applause.

“West Side Story” is a superb story when told by Cabrillo Stage. Hopefully it will not be the company’s last story, but the answer to its future is still unknown. The bottom line is that this group needs more funds to continue producing this high caliber of work. During the standing ovation at the end of closing night it is clear why Cabrillo Stage is a favorite—the company has mastered the art of storytelling. We hope that it will have many more stories to share.

“West Side Story” at Cabrillo Stage runs until Aug. 17. Performances are at 8 p.m. Wednesdays through Saturdays and 3 p.m. Sundays at Cabrillo College Theatre, 6500 Soquel Dr., Aptos. Tickets are: On Wednesdays and Thursdays $23/general, $20/seniors, $18/children ages 6-12. (Add a $2 service charge.) On Fridays, Saturdays and Sundays $25/general, $22/seniors, $20/children. Charge by phone: 479-6154. For more information, call 479-6429 or visit www.cabrillostage.org.