West Side Story

Reviewed by Holly Bartges

I’m speechless.

Ryan Belinalk as Tony and Elizabeth Welch as Maria in Town Hall Arts Center’s production of West Side Story.

There are no words big enough.

There are words that point to, but nothing big enough to engulf the spirit, the experience of Littleton Town Hall’s current production of West Side Story.

It doesn’t matter if you have seen it 65 times. According to this production you haven’t seen it at all until you see this one. There’s no way to just see it. It’s an unmitigated experience.

Directed under the magical aura of Nick Sugar with an explosive cast set in a back alley of New York City plunked down in the intimacy of the Town Hall, the aliveness vibrates.

Something happened to the cast. They disappeared. The spirit of Arthur Laurents who wrote the book, Leonard Bernstein who wrote the score, Stephen Sondheim who matched the lyrics to the music of the universe, and Jerome Robbins who envisioned a connection with Shakespeare’s Romeo and Juliet to New York City’s gang life, descends full throttle into the small theatre arena with larger than life manifestations.

For those who frequently write about “why gangs?” consistently miss the point. The answer is there, has always been there. This time spilling its intentions into the arena.

Acting doesn’t happen. Rhythm does. The rhythm of desperate life flows deep through every vein of life. What sets this magnetic cast apart is that every one believes in their character, believes what they are doing. That belief spills into every nook and cranny of the theatre. Their belief etched on their faces of desperation, longing to belong, wanting purpose, a place of their own even if they have to fight for it. And fight they do. The Jets and the Sharks with toughness engulfed in their fists and meanness notched in their faces for territory they must have. Their rough reputation demands it.

From the moment The Jets belt out their song, the heart-felt crackling music seeps into every molecule of one’s being. Under the grueling leadership of Riff, doggedly portrayed by Scott McLean, The Jets are ready for a fight. Even Riff knows they need Tony. A relative newcomer to the Denver theatre scene, Ryan Belinak with a voice as clear as a sun-filled sky, and the heart of Tony wants something more. He sees it, hears it, and feels it. When Belinak sings Something’s Coming you hold your breath with him and for him.

Melissa McCarl’s portrait of Anita is what Maria was intended to be: feisty, fiery, hot-blooded Puerto Rican, with warmth, tenderness, and spicy sense of humor when she sees through cracked facades. She’s a perfect combination for the young innocent blossoming excited to be alive, overwhelmed at attending her first dance, Maria. Elizabeth Welch molded Maria from the original conception. With Belinak and Welch together, there can’t be a more refined Tony and Maria anywhere, anytime, anyplace. When they see each other at the dance for the first time, you know they really see each other. The magic Tony longs for stands before him. When they sing One Hand, One Heart no one within a 100 yards could interrupt the moment by breathing.

Kent Randall paints The Sharks’ Bernardo juxtaposed to Tony’s gentle spirit with gritting determination to win at all costs.

Tony works for Doc at the drug store. Jim Hunt’s Doc wants no trouble, wants to bridge the generational gap between the young hot heads and his time, age, and wisdom. It shows.

The choreography carries the Sugar-stamp of ingenuity, matching the quality in the dancers allowing them to shine with hot-blooded energy. The rumble takes expertise to a new level. It goes beyond entertainment. These guys are serious. Of course, they’re serious. Their life is on the line. The gymnastics incorporated into choreography for Gee, Officer Krupke falls into a classification all of its own. It falls snugly into comic genius driving its point squarely into the heart of their problem.

Debbie Schwartz’s Anybodys is anything but anybody. The guys aren’t the only ones who want to belong to something bigger than they are. Schwartz absorbs and delivers the energy of this young woman who aches to prove herself to the tough guys.

With a cast of 25, there isn’t one slacker in the midst. Every one of them gives their heart and soul to every word, every note, every step, and every breath.

With an unassuming smile, Sugar quietly says, “I’m proud of them.” Proud of them? They are overwhelming. The production is pure awesome ingenuity, with the Muse of Dance, the Muse of Theatre sitting squarely on their heads.

Currently, there are several amazing, astonishing production companies standing tall, walking proud, flooded with expertise, talent, and direction. Some for sheer entertainment, some filled with the drink called escape, some provoking, thought-numbing, some challenging boxed in thoughts. West Side Story is at the top of the list. This is one production where one time won’t be enough. It’s the music. It’s the story. It’s the love that digs deep. It’s the heartbreak. It’s the criminal loss of life, because of the desperate need for life.

Tina Anderson designed the set that alludes to, feels like, almost smells like a New York back alley. Convenient for the Town Hall stage, it twists, turns and morphs with wheels and hinges giving direction to the suggestive places.

Martha Yordy’s musical genius showers the theatre through the high-profile, energetic music collaborated with very big vine-tuned voices. Steve Stevens sound design jolts with realistic shudders. Jennifer Otto-Zedalis’ lighting design bows to the rumbles, the tender, the turf struggles, and the determination.

It’s a truth. All of this under the roof of the Town Hall Arts Center that started as an unobtrusive community theatre under the guidance of Bil Rodgers, who recently gave notice he was vacating his executive director’s position. Consistently, Rodgers developed Town Hall into a contending professional theatre, and West Side Story places Town Hall squarely on the map of high expectation.

I’m speechless.

There are no words big enough for this production of West Side Story.

Call early for reservations. Tickets promise to go fast. Once will not be enough.