I saw the second preview of the 5th Avenue Theatre's production of WEST SIDE STORY, which opens on May 31. Even though I've seen the 1961 film version about a thousand times, I'd never seen a professional production of WEST SIDE STORY.

My first exposure to the brilliance of the score was in junior high English class. For some reason we had to act out a scene from a play or musical, and my group ended up doing a fabulous rendition of "Officer Krupke", complete with staging and dance moves. I, needless to say, was brilliant. But enough about me...

WEST SIDE STORY was based on a concept by Jerome Robbins, and its book was written by Arthur Laurents, its music by Leonard Bernstein and its lyrics by Stephen Sondheim. Of course the entire original production was famously directed and choreographed by Jerome Robbins.

David Armstrong, the Producing Artistic Director of 5th Avenue Theatre writes in the program:

When WEST SIDE STORY opened on Broadway in 1957 it was a shockingly new approach to musical theater. This modern retelling of Romeo and Juliet was set in a world of gang violence that was "ripped from the headlines" of the day. The anxious music, the dynamic staging and the intense subject matter were initially off-putting to many theatergoers. 50 to 100 people walked out on each performance throughout the original Broadway run. It was not until the release of the film version in 1961 that the show found a broad audience and came to be seen as a classic.

Today WEST SIDE STORY isone of the most popular and beloved of all musicals, but it has lost none of its punch and power. Its themes of racial conflict, immigration, and "at risk" youth are as vital today as when the show was first written. And its story, music, lyrics and choreography are just as engaging, moving, and thrilling.

I totally loved the 5th Avenue Theatre production! It really is amazing how fresh and compelling the show is, especially when you think you know it well and have heard the music again and again throughout the years. And the choreography is so iconic, yet doesn't feel dated at all. Directed by Bill Berry, musical directed and conducted by Ian Eisendrath, with original choreography recreated by Bob Richard, The 5th Avenue Theatre produced the show in association with Spectrum Dance Theater.

This was a great idea -- the dancing in the show was breathtaking. It's such an integral part of the whole storytelling of WEST SIDE STORY, I imagine that the show would suffer greatly without terrific dancing. Lara Seefeldt, from Spectrum, played Anybodys and was really great and endearing in what I've always considered sort of a tough role.

The whole cast was amazing and featured Louis Hobson as Tony, Maegan McConnell as Maria, Michael D. Jablonski as Riff, Manoly Farrell as Anita and Miguel A. Romero as Bernardo. I particularly liked Anita and my favorite number was "America". Sean G. Griffin who played Doc was also a standout for his intensity and emotion. As an audience member you feel what Doc is feeling -- why do they have to act like this? Why does it have to end so badly? Also, I was surprised at how effective "I Feel Pretty" is at the top of the second act. It's kind of a fluffy song, but coming after the death of Berbardo and Riff, your stomach is clenched at Maria's happiness because you know it will end in moments. So, fluffy works! (it doesn't work as well in the movie where they moved it up-front, so it's fluff without tension)

Everything about this production works -- great set, great costumes, lighting, and a fabola orchestra. I was lucky enough to see the wanderprobe the previous Friday night (like a sitzprobe, but the actors do the blocking and dancing in addition to singing) and got to hear the orchestra. Hearing those melodies played by this 25 piece orchestra really was something. I got chills during "Maria"!

WEST SIDE STORY is playing at The 5th Avenue Theatre until June 17. Next season's line up looks pretty hot as well, with LONE STAR LOVE, INTO THE WOODS (w00h00!), WHISTLE DOWN THE WIND, JERSEY BOYS (w00h00!), MAME, and CABARET.

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