Broadway Palm West begins it's third season with a time-tested commodity, Laurents, Bernstein, and Sondheim's West Side Story. Director M. Seth Reines and choreographer Millie Garvey pack a lot of great singing, dancing, and acting onto their stage, highlighted by a one-two wallop of Lauren Gruet and Danielle Plisz as Maria and Anita accordingly. While the resulting production is a bit skewed for the two women's dominance, each of their performances alone are worth the price of admission.
Executive Chef Clifton Weir's choices for the dinner buffet don't seem to be strongly driven by the show, although there are several Spanish-influenced items balanced by a roasted garlic cheese manicotti. The highlights include a very flavorful and perfectly baked Hoki fish with tropical fruit salsa and the grilled breast of chicken with sweet chili beurre blanco. The carved eye round of beef is good, but I was told that the cilantro and lime rubbed pork loin was unremarkable. The chef's vegetables included a perfectly steamed selection of green beans and carrots, and a few new items have made their way onto the already wonderful dessert tables.
Mr. Reines has cast an ensemble that is able to infuse the old story of 1950s gangs with vibrancy. Whether they are acing Ms. Garvey's explosive movement or singing about their turf, they're a collection of energy. The balance is off, though, because this show features a Maria and Anita that are a wonderful combination of gifted singers, actors, and dancers. While Michael Marcotte's Tony is technically flawless, highlighting his solid singing voice and graceful dancing, he is emotionally distant and there is never a palpable connection with any other of his cast mates, especially Maria. On the other hand, when Ms. Gruet and Ms. Plisz are onstage, they sparkle. Their second act duet is one of the highlights of the show. Ms. Gruet has a beautiful soprano voice, and moves Maria skillfully from reticent adolescent to full-fledged woman scorned. Ms. Plisz, unrecognizable from her completely different role in their last production of Honk!, is a lithe-legged Anita with equal measures sultry and sarcastic. The ladies are definitely in control of this production.
The ensemble does not offer many weaknesses. Seth Wyatt Kinney's Bernardo is seething charm, a strong singer, and a stylish dancer. Joe Schenck's Riff does not seem to be especially dangerous, but is strong in every other way. The collection of the remaining Jets (Dominic Sheahan-Stahl, Stephen Erek, Anthony Giorgio, and Philip Groft) are not exactly a motley crew, but their lack of threat is forgiven when they do an excellent job with "Officer Krupke." Shauna Reiser's Anybody's is an enjoyable spitfire tomboy. Jayar Garcia is a shy Chino, while the remaining Sharks (Alan Plado, Mark Albanza, and Ryan Reilly) are also strong singers and dancers. Mark Hudson's Doc is given an embittered resignation, while Jackson Fisher's gruff Lt. Shrank balances the cluelessness of Patrick DuLaney's Krupke.
JR McAlexander's six piece orchestra sounds full, while Christine Peters' set design features an ever present west side of Manhattan backdrop while several moving platforms successfully create all of the required spaces of this piece. Russell A. Thompson's lighting is colorful, while Maureen Smith's costumes are generally impressive and era-specific. Dave Temby and Loren Pratt's sound design had some opening night hiccups, but will undoubtedly iron itself out through the run.
Under most circumstances, the tilting of performances for this production would cause me to hesitate sending people to see it. However, no one should miss the amazing performances of Ms. Gruet and Ms. Plisz. Despite the one noticeable slip of balance, the remaining elements of the show make this an excellent evening of theatre.