Since its Broadway debut in 1957, West Side Story—with original book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and original choreography by Jerome Robbins—has remained one of American musical theatre’s most treasured works. The subsequent 1961 film adaptation, which won ten of the eleven Oscars for which it was nominated, only further solidified the piece’s rightful place in musical history. Of course the fact that the show itself drew inspiration from William Shakespeare’s Romeo and Juliet hasn’t hurt its iconic status.
Taking that storied history into consideration, when a newer local theatre company bravely includes the legendary show in their current season (the company’s third), you gotta figure they either know they’ve got the talent to back it up, or they’re as starry-eyed as Shakespeare’s ill-fated young lovers. Directed by Audience Of One founder, Angie Dee, whose company is producing the show in collaboration with Capitol Players, with musical direction by Sandy Elliott and Jenny Youngman, it’s quickly evident that it’s the former, with a surprisingly talented cavalcade of young actors paying homage to the beloved musical theatre masterpiece.
I had the opportunity to attend last weekend’s opening night performance and while there were the usual opening night nerves initially present among a few of the cast members, once they got their grove, they played it cool, real cool.
Among the stand-out in the show, appropriately enough, are the two leads, Matt Gunn and Madison Graves. Gunn, who has the looks of a young Justin Timberlake, plays Tony, the golden boy of The Jets, a local gang bent on protecting their turf against the Puerto Rican gang, The Sharks. (Yes, themes of who belongs in this country and opposition to loving who you choose to love are sadly as relevant today as when this play debuted more than a half-century ago).
Mostly because of his own youth or at least his youthful appearance, as I’ve truly no idea how old he is, Gunn presents Tony with an innocence and inexperience that’s quite the welcome change from the usual local productions of the show in which it’s not uncommon for thirty-somethings to be playing the teenage characters. But more than that, when Gunn sings his share of the show’s numerous signature songs like Something’s Coming and Maria, he does so with a convincingly undeniable optimism that frequently accompanies first love. A few vocal missteps on opening night aside, as Gunn continues his training and performing, he’s surely to become a force to be reckoned with in the Nashville theatre community.
Matching Gunn’s on-stage believability scene for scene is his Maria, Madison Graves. While she may in fact be a couple years older than her leading man, (again, I truly have no real concept of her exact age) she plays the lovestruck girl with aplomb. Her dark hair and striking looks and a convincing hispanic accent simply enhancing the idea of Maria. She’s never better than when going note for note alongside Gunn’s Tony for One Hand, One Heart, one of my personal favorite musical moments in the show. Graves also shines in Act 2’s playful I Feel Pretty, a song she shares with a few of Maria’s friends. And if you don’t shed a tear during I Have a Love, I have no love for you.
Speaking of Maria’s friends, Macy Ruggiero plays the outspoken Anita (Rita Moreno’s Tony-winning role in the film, for those whose point of reference that remains). Hands-down my favorite character in the film adaptation and pretty much any production I’ve ever seen of West Side Story, Macy’s Anita does not disappoint, stealing every scene she’s in and perfectly hitting every single note of every song she’s a part of, most notably, the caustic America and the cautionary A Boy Like That. Simply blissful to watch.
Cast as Tony’s womb-to-tomb fellow Jets are Alex Dee, Daven Dee, Tanner Buttery, Brad Thompson, Abe Gibson, Tanner Myers, Jake Yoder and I can’t forget CJ Shandor as Anybodys. Tasked with opening the show with Jet Song, the boys and Anybodys come together to support each other perfectly. That same camaraderie holds true during the Jet’s other all-in, Cool.
Appearing as the Jets Girls are Rebekah White, Hope Beard, Maggie Morgan, Tessa Groves, Keely Chandler and Bently Spicer. With Gracie Youngman, Rachel Rae Poole, Stella London, Sadie Holt, Christina Ray, Emma Bastin, Julia Mowry their counterparts as The Sharks’ Girls.
Aside from Graves’ Maria, Ruggiero’s Anita, the aforementioned I Feel Pretty and Ray’s solo during Somewhere, the girls don’t exactly feature as prominently as the boys in the show. That said, they are indeed a vital part of the show and their presence during the group numbers showcases their individual voices while simultaneously blending for a powerful chorus that magnifies the glory of the famed soundtrack.
Taking on the Jets are Bernardo and the Sharks. Joseph Walker does an admirable job as Bernardo, particularly enjoyable during the show’s technically tricky choreographed fight scenes, under the direction of stage combat choreographer, Katharine Boettcher. Walker’s Bernardo also benefits from his fellow Sharks: Josh Crabtree, Will Deffendall, Derek Fry, Gibson Littlejohn, Patrick Pride, Sam Martin and Daniel Carrasquillo. Perhaps because I’m familiar with Carrasquillo, having seen him in previous productions across town, my eye kept going back to him, especially during the many dance sequences.
On the subject of dance numbers in this production of West Side Story, weeks before I even attended Opening Night, I kept seeing post after post praising the choreography in this show. Much to my delight, choreographer Rebecca Poole and the entire cast completely live up to the hype. Kudos to the whole cast for the obvious hard work and dedication to bringing this often challenging choreo-full piece to the stage in such a lovely way.
As referenced above, while the majority of the cast is younger, there are a few shall we say slightly more seasoned actors cast in the adult roles. Rich Moses plays Doc, the owner of the drugstore that’s home base for Tony and The Jets. While I personally have never seen Doc played with a southern accent—the show takes place in mid-century New York, after all—Moses’ Doc provides the boys with a likable and understanding authority figure. The same can’t be said for Brian Best’s tough-talking detective Schrank. Typically cast as a scene-stealing cut-up, it was a nice surprise to see Best in a grittier, albeit less lovable role. Logan Richardson’s Officer Krupke, the brunt of the boy’s tauntingly hilarious Gee, Officer Krupke might not be playing a lovable character, but judging from the response from eh crowd, the actor himself is a town favorite. Another fan favorite, Evan Reavis who plays Glad Hand, the hammy host of the potentially tense community dance. His every line was met with uproarious laughter and applause, leaving me as a first-timer at the venue feeling a little like a wallflower, as I just wasn’t in on the joke.
If there was one moment in this production that just didn’t flow, it’s the mid-Act 2 Procession and Nightmare. Not necessarily the fault on anyone associated with this production, the ballet-heavy sequence is simply difficult to pull off. For some reason, dream ballets were a staple in 1950s. From Oklahoma’s cornfield ballet and Singin’ In The Rain’s club scene to White Christmas’ oddly mod Choreography sequence, I’ve just never been a fan. These scenes attempt to incorporate stylistic dance moves bridging the gap between classical genres and musical theatre, and for me at least, rarely work. Oh, and did I mention that during this scene on Opening Night, the audience was accidentally privy to someone chatting backstage thanks to an unfortunately live mic issue.
AOO & Capitol Players’ West Side Story, on stage with three more performances through Saturday, July 28, at the beautifully restored Capitol Theatre, (110 W. Main Street, in nearby Lebanon, TN) will have you believing in true love and have you snapping your fingers like the coolest of Jets…or is that Sharks…Whichever gang you roll with, AOO & Capitol Players’ West Side Story is a must see this weekend. Remaining shows are Friday, July 27 at 7 p.m., a Saturday, July 28 matinee at 1 p.m. and a final Saturday evening performance on the 28th at 7 p.m. Tickets are $20 for Adults and $13 for Senior Citizens and Children ages 3-11. Click Here for tickets. For more about Audience of One Productions, Click Here or follow them on Facebook, Twitter and Instagram.
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Cast as Marian/Robin Hood is Melinda Paul. Whether in literature, on the stage, screen or even in one of my personal favorite depictions, Walt Disney’s 1973 animated feature, Robin Hood has always been portrayed with a self-assured cleverness. Paul takes that characteristic and builds on it, playing both Robin and his fairer alter-ego, Marian with equal parts confidence and concern. While she indeed swashbuckles with the best of them, her gentler scenes with Mackenzie Smith’s Little John provide the oft-outlandish comedic tone of the play with some much-appreciated sweetness. Side Note: Who wouldn’t fall for Smith? That kindness. That accent…that kilt.