Never a foot wrong

WEST SIDE STORY, a landmark in the history of the American musical, was actually more appreciated in London than New York at its premiere in the late 1950s.

The original production was one of the great productions of the 20th century.

The strength of the show has always been in the integration of Arthur Laurents's book, Stephen Sondheim's lyrics, Leonard Bernstein's music and Jerome Robbins's choreography.

The strong storyline is based on Romeo and Juliet. Ugly violence alternates with lyrical sentimentality. The melodramatic finale, so different from the Shakespeare version and so unexpected, audibly shocks the audience.

The Capulets and Montagues are updated to two feuding New York street gangs. In some respects, Laurents's book actually improves on the original.

Many people then, critics and public, thought that the violence was inappropriate in a musical.

But the violence, the knife crime and the racism are still topical. "I've got the badge, you've got the skin," says the police officer to the Puerto Ricans as he tells them to move on. They move on, whistling Land of the Free.

What is so great about the musical is the vitality of Bernstein's almost operatic score and its wonderful, varied songs with their complex rhythms. Hit number follows hit number.

The US cast includes Ryan Silverman as the modern Romeo, who is a bit too clean, a bit too mature and a bit too Ivy League, but he sings nicely. Elisa Cordova is the modern Juliet and she is very sweet and sings beautifully. Lana Gordon as the best friend has a strong and vivid personality.

The production values are so-so. The set is designed for touring and looks it. But Robbins's exhilaratingly energetic choreography - always there to develop plot and character - manages a highly skilful balance between realism and poetry.

Fifty years on, nobody is allowed to do West Side Story without Robbins's original choreography and quite right too. The dancing from the smashing opening right through to the finish is fantastic and a major reason for seeing this thoroughly enjoyable revival.

Plays until August 31 then tours Britain until July 2009. Box office: 0844-412-4300.