Broadway Series journeys to the 'West Side'

What could be the lure of a story that debuted on Broadway in 1957 — one so strong that more than half a century later could still pack a house, even in mean and lean economic times? For the crowd that packed the Sacramento Community Center on Tuesday night, it was simple — it's about love, one that grows despite a war of prejudice and injustice, all unveiled in a revival tour of "West Side Story."

Arthur Laurent's tale of turf wars between Puerto Ricans and native New Yorkers in a post-World War II era is softened by the innocent love of a fresh immigrant, Maria, played in this revival production by Evy Ortiz, and Tony (Ross Lekites), a hometown boy reluctantly associated with a young gang — the Jets.

The Jets' rivals, the Puerto Rican gang dubbed the Sharks, headed up by Maria's older brother, Bernardo (German Santiago), make for an uneasy neighborhood, unsoothed by corrupt cops played wickedly by Wally Dunn as Officer Krupke and Mike Boland as Lt. Schrank.

By now, most people have seen the Academy Award-winning 1961 movie directed by Jerome Robbins. It's a little hard to dismiss the image of a doe-eyed Natalie Wood as Maria on the big screen. But Michelle Aravena evokes the same sauciness of Rita Moreno's movie role as Anita, Bernardo's fiery and beautiful girlfriend in this 2-1/2-hour production directed by David Saint.

Love and tension rule as the gangs take their girls to a dance and then settle on the details for a rumble. In between, the star-crossed Maria and Tony pledge their love, conjuring up comparisons to a union between the Hatfields and McCoys or to Shakespeare's doomed lovers, Romeo and Juliet. Love and war are threaded through 15 songs, with music by Leonard Bernstein and lyrics penned by Stephen Sondheim.

Stellar choreography by Joey McNeely offers stealthy, fluid moves to impart a menacing tension in the "Jet Song," while the vivacious "Dance at the Gym" captures youthful energy. David C. Woolard's vibrant costumes — lots of jewel tones in fluid fabrics — nicely set off McNeely's moves.

Scenic designer James Youman's linear, urban set shines, especially with a perspective-touched, under-the-freeway photo that could serve as its own artwork, as well as the setting for the death-dealing rumble. Howell Binkley's lighting effects work magic, too, offering silhouettes of love or casting color and hue into tense situations.

The dance, costumes, sets and lighting stole this show, for a new and refreshing touch to a familiar story that found relevance in the last century and continues strong in this one.