Racism. What an ugly and disgusting word that is, and the emotions that come from that word are ten times worse. Year after year there is some horrific crime (or crimes) that brings racism back to the forefront of our media headlines. We all discuss and then it stops there. You just wonder if racism will ever die in our world; I hope some day it will.

How does this all relate to a musical you ask? West Side Story drips with racism and the cruelty of people not being able to just get along. This musical premiered on Broadway 44 years ago and yet, even today, it effectively relays its message in music and dance with emotion.

I have seen other productions of West Side Story that came off unbalanced, or offending and unemotional, with weak casting or bland choreography. Some were good, others fair, and one just dreadful. It took Garland Summer Musicals to be the company to finally get it right.

In practically all the productions of West Side Story that I have seen, the actors/actresses playing the Latin roles (Bernardo, Anita, Maria, the Sharks gang) used extremely offensive stereotypical Puerto Rican/Latin accents. At one production it was so far beyond offensive that I walked out after act one, furious and angry that my nationality was made into a one tone joke. But at GSM the thespians who play the Latin leads and Sharks speak in normal and very respectable, understandable accents. They use just a slight hint of a Spanish dialect, but speak with clear English and good diction. These actors show such dignity and respect to the Latin culture, it touched me in ways they will never know.

I think Garland Summer Musicals is the only local theatre company that uses a full orchestra (not counting Casa) in their musicals. I totally understand the budgetary reasons for other theatre companies to use much smaller combos or bands for their musicals; its the almighty dollar that decides how many instruments you can have in the pit. But Leonard Bernstein's opus needs a full and rich sounding orchestra, and that is provide by GSM as Conductor and Music Director Scott Eckert leads this beautiful full orchestra. Maestro Bernstein would be proud of Eckert and his orchestra for bringing such life and beauty to his score.

Bryan Wofford's sets really resembles a slum section of New York. Two massive turntables on either end of the stage become various apartments or Doc's shop. Wofford also uses fly in pieces to create illusion. But where he really earns raves is in the way his sets move to create emotion and great moments during some songs. During "Tonight" Tony and Maria sing on the balcony of an apartment on stage left, then a tower set piece moves to the center with ease, adding to the song. In the "Dream Ballet", Wofford uses both turntables and even a middle piece to signify Maria's apartment; these set pieces disappear and reappear during the ballet for great emotional impact. I found that amazing.

Designers Bill Bullard, Marilu Gonzales, and Michael Robinson's costumes fit the period perfectly. The best costumes come during the number, "Dance at the Gym." The women's costumes are a dazzling array of pastels, with layers of petticoats underneath. As the women spin, the richness of the colors create visual delights for the audience. The men are dressed effectively in impeccable suits and ties at the dance as well.

Once again Susan A. White scores a success with her lighting design. I have seen the work of Ms. White quite a bit this past season and she never goes wrong in her design of such creative lighting. From the gym to the dream ballet, Ms. White bathes the cast in lighting that adds subtext to what is happening on stage.

Director Buff Shurr does an outstanding job of bringing to life this musical, but he is also assisted by a top notch production staff and an outstanding cast. The performances that he brings forth from his large company are to be applauded!

I have said this many times: a chorus can make or break a musical, period. The members of this ensemble perform their hearts and guts out on that stage with great energy. They play off each other with commitment to their characters and full understanding of who they are and why they respect their "gangs" so much.

Choreographer Paula Morelan recreates Jerome Robbins' original choreography superbly. It is magnificent what she has done with her dance corps in this production. Some of the dance numbers are just breathtaking at times. My personal favorites include "Prologue," with its high energy and great use of pauses in both dance and music to create tension between the gangs. "Dance at the Gym" is an eye-popping feast of dance, costume, light, music, and energy. The masterpiece of the "Dream Ballet" - just delicious visual subtext in dance and music, thanks to Morelan, Eckert and this first-rate ensemble!

Leading the principals is Jamey Cheek as Tony. Mr. Cheek gives one of the best performances by an actor in a musical this year, hands down. I was blown away by his gorgeous singing voice and honest acting. Cheek's rendition of "Maria" is the finest performance of that song that I have ever heard in my life, honest! Cheek also hits a home run with his opening solo, "Something's Coming". Cheek matches his singing beauty with his acting craft. I've seen other Tonys go overboard screaming for Maria during act two. But Cheek uses a gut wrenching pain that makes you feel his loss hit your heart like a jab. He is amazing.

Connie Marie Brown as Maria is a treasure. Her beauty radiates into the audience from her first entrance. She has a splendid soprano voice that floats into the air and into your heart. Some previous Marias screech or sound sharp when hitting the high notes written for Maria, but Brown has no problem at all hitting those high notes and singing them with commitment, and not backing off. My only criticism of Miss Brown's performance is that I wished she would have used her Spanish accent during her songs. When it is time for her to sing, she drops all hint of the accent, thus a new voice comes out and it is off-putting. Regardless, she is brilliant in the role.

Markus Lloyd as Bernardo is splendid as the leader of the Sharks. Lloyd speaks in a perfect and respectable Spanish accent as well. Where he really shines is in his ability to act with just his face. The expression he uses to show his disgust for the Jets speaks volumes. Lloyd has a ball with "America", one of best numbers in the show. His fierce commitment to the role is powerful to watch.

Rachel Arthur, who was just grand in WaterTower's Rockin' Xmas Party is wonderful as Anita. Her impeccable comic timing works magic for the number "America" and her Spanish accent is perfect and not tacky comic like other Anitas that I have seen. Her dramatic acting tools come to full bloom in act two's "A Boy Like That." She never slides into over the top drama for this number, but instead brings forth venom and anger.

The supporting roles match the brilliance of the leads as well. David Plunkett, as Action, clearly is the best male dancer in the company. His technique and precision are outstanding. Giving the role an underlying vein of hatred and total anger is where Plunkett also succeeds. He gives Action purpose to push his views on others, especially violence. Thankfully, Plunkett has a song to show off his comic talents as well, "Gee, Officer Krupke!", with a perfect back up group of Jets to provide another layer of musical comedy.

Rod Blaydes as Doc takes a minor role and turns it into a "voice of reason" that I have never seen before in that role before. Blaydes has great moments with both Cheek and Plunkett that really touch your heart.

The production is filled to the brim with first-class performances: Sergio Antonio Garcia as Chino, Patrick Gallineaux as Riff, Denise Castillo as Rosalia, Cathy Bardin as Consuelo, Lisa J. Jones as Francisca and Donald Kruizinga as Schrank.

This is the first production of West Side Story that brought tears to my eyes. The first act ending, with the two bodies on the ground, the sublime orchestra playing the underscore, the police search lights, and the beautiful fade of the lighting - it put a lump in my throat. The second act ending was is haunting.

I have seen many Garland Summer Musicals in my eleven years of living in Dallas, and their production of West Side Story is the finest production they have ever mounted.

West Side Story
Garland Summer Musicals
Book by Arthur Laurents
Music by Leonard Bernstein
Lyrics by Stephen Sondheim
Director - Buff Shurr
Music Director - scott Eckert
Choreographer - Paula Morelan
Producer - Patty Granville

West Side Story closed July 29, 2001.

--John Garcia