Steven Spielberg’s lauded remake of the 1961 film version of West Side Story last year did wonders to remind people of the musical’s durability as well as introduce the material to a new generation with more authentic casting. It all clicked so seamlessly (save for Ansel Elgort’s work as Tony) — with defining performances by Oscar winner Ariana DeBose (Anita), Rachel Zegler (Maria), Mike Faist (Riff) and David Alvarez (Bernardo) — that I’ve wondered to myself how on Earth patrons might react to subsequent versions, especially so soon.
City Springs Theatre Company is staging the classic musical through July 24 at the Byers Theatre at the Sandy Springs Performing Arts Center. It’s really not fair to compare to other takes, for this is certainly an ably executed staging. Yet, on its own, it feels a bit subdued and suffers from a lack of chemistry between its leads.
In this immortal tale, featuring a book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim, Romeo and Juliet come to New York as young lovers Tony (Ben Jacoby) and Maria (Emma Heistand), who try to make an unlikely romance work amidst two street gangs at each other’s throats, the American “Jets” and the Puerto Rican “Sharks.” West Side Story, which came to Broadway in 1957 with direction and legendary choreography by Jerome Robbins, features what is undeniably one of the greatest scores of all time, with “Tonight,” “America,” “Maria” and more.
This version is directed by Daniel Kutner, who worked with Harold Prince on Broadway’s Prince of Broadway and has numerous off-Broadways shows to his credit as well as international tours. The rest of his cast includes Waldemar Quinones-Villanueva as Bernardo, Ethan Zeph as Riff, Steve Hudson as Doc and perpetual scene stealer Bart Hansard as Officer Krupke. Orianna Hilliard is credited as Anita but on the night I attended, Chani Maisonet took on the role memorably on short notice.
Kutner’s production moves quickly and efficiently and, as always, the material and music hold up as just as they did 65 years ago. Jeffrey Meek’s costumes are spot-on, and Robert Andrew Kovach’s scenic design (abetted by Ryan Belock’s projections) make the New York action seem entirely plausible. Miles Plant conducts a 16-person orchestra for the beloved 17-number production, which differs subtly from the film version.
If there is an MVP here, however, it’s choreographer Cindy Mora Reiser, who has worked on multiple City Springs shows. Oftentimes the stage is full of characters, and she expertly weaves their interactions. Her work on “The Dance at the Gym” is superbly handled, as are other moments. The number “Gee, Officer Krupke,” which can get overshadowed, is also cleverly and acrobatically staged and received the loudest applause of any number the evening I attended.
Many of the cast members are making their City Springs debut here, and overall it’s a tight ensemble. Jacoby is a charismatic, sturdy Tony, swooning once he falls in love in a spirited “Maria,” while Maisonet brings a lot of energy and authority to “America” but more sensitivity in “A Boy Like That” after tragedy has taken place following a rumble. Alas, while Heistand, a recent graduate of the Boston Conservatory, is a gifted singer, she doesn’t bring much else to the role of Maria. What should be a palpable charge between her character and Tony is just not there, and West Side Story suffers because of it.
At times, too, some of the numbers just don’t pop the way they should vocally, and the finale feels a little rushed, not as emotional or stirring as it could be.
City Springs’ Artistic Director Shuler Hensley has said that he wants his company to revisit classics and give them a new spin. So far, the company has been highly successful in doing so. This is a handsome production, full of vibrant touches, but it just doesn’t have the City Springs signature of some of the company’s best work, such as the recent A Chorus Line (directed by original cast member Baayork Lee) or 2019’s Hairspray. This West Side Story is definitely worth seeing if you have never experienced the stage musical, or not seen it in a while, but those who’ve experienced it multiple times may find themselves wanting a little bit more.
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Jim Farmer covers theater and film for ArtsATL. A graduate of the University of Georgia, he has written about the arts for 30-plus years. Jim is the festival director of Out on Film, Atlanta’s LGBTQ film festival. He lives in Avondale Estates with his husband, Craig, and dog Douglas.
