Sets distract great 'West' performances

This past weekend's production of "West Side Story" proved how talented University students are. The department of musical theater shined as all aspects of its aptitude was showcased within the Bernstein/Sondheim/Robbins musical.

The show's major dance numbers were captivating and compelling. The Jets and Sharks sparkled in such dance gems as "The Prologue," "Dance at the Gym," "Cool," "America," and "The Rumble." Robbins' brilliant choreography was given new life and a new touch by visiting Broadway choreographer Mark Esposito.

REVIEW
	West Side Story April 16, 1998 Power Center

Adriene Daigneault and James Luxton gave the best performances of the evening as Maria and Tony. Their scenes together were passionate and romantic. From the first few bars of "Tonight" to the final note of "I Have a Love," Luxton's charismatic tenor voice wooed not only the dainty Maria, but the audience as well. Daigneault's surprising soprano capabilities strove her character's beauty, and everyone understood why Tony fell in love. "One Hand / One Heart" brought out the love in all, as each character professes his/her vows to the other.

The supporting cast rounded off the production, making "West Side Story" an enjoyable show altogether. While no Rita Moreno, Erika Shannon's Anita was comical and lusty. Her performance during "America" was an extreme climax of the highly ethnic song. Michael Short's Bernardo was debonair and suave, and a believable enemy to the WASPy Jets. He and Shannon made an excellent pair. Leading the Jets was Jeremy Davis as Riff. Although a fine singer, Davis seemed way too stiff to portray the head cool guy. Riff can't be nervous unless if he knows he's about to meet his match.

The dancers during "Dance in the Gym" have to be commended for their ability to pull off all the fast action. "Gee, Officer Krupke" was hilariously entertaining. The gang of misfits carried the fast-paced humor well, and threw in an occasional contorted face to boot.

While Esposito's choreography was moving, the "Somewhere" dream sequence proved to be an over-done scene. Slightly bordering cheesy, the scent du fromage prevented a dramatic reaction from the awkward goings-on. While a very talented Jessica Murphy sang a beautiful version of "Somewhere," her voice was piped in over the theater soundsystem as a select handful of characters danced a mid-show ballet. While it may have worked in the Robert Weiss film and the original staging, this version was less than stunning.

This version of "West Side Story" was slightly abstract, as the set design remained simple with a mostly dark scenes tableaued by moving staircases and dark front shutters that replaced the ordinary stage curtain. It would have worked well if set designer Rob Murphy had not tried to recreate an M.C. Escher scene during the big "Quintet" number.

"West Side Story" is universal and timeless not only because of its Shakespearean themes, but mostly because of the genius score and book. Altering a production by placing the characters in the drab setting of a timeless abstract environment tries to showcase the talents of its singers. While someone may have nice performances to watch and hear, it's also captivating to have something beautiful to look at as well.

04-21-98