SouthFlorida.com | Teen Link South Florida

Interpretive dance often resonates grace, fragility, and beauty. The distinct and controversial rhythmic movement imitating gangs and war in AW Dreyfoos School of Arts' production of West Side Story provoked an examination of the fierce capacity of love.

A fixture in pop culture, West Side Story substitutes characters and a defining innovation in dance in a rendition of the immortal Romeo and Juliet. First produced in 1957, Bernstein and Sondheim's romantic musical centering around two gangs of Puerto Rican and American descent, proved to be a kairotic moment in history, justified by the partial success of the show. Tony, an American Jet, falls haplessly in love with Maria, a Puerto Rican Shark. A storm ensues as a seemingly mild rival feud turns into a rumble-filled no man's land, complete with heightened tensions and fatalities.

Daniel Kopystanski played Tony with an impressive vocal range and an obvious regard for his character. His effective take on love was beautifully heard in the number "Maria" as challenging notes were aptly met. Tessa Assari (Maria) was literally breathtaking as she began singing in the impassioned "The Balcony Scene". Maria's feminine characterization was displayed by Assari's fragile mannerisms and an almost heavenly voice.

Most notable was Anita (Marina Pires), the leader of the Sharks' love. Pires not only sang skillfully, but maintained a character, of which others in the show seemed to lack. In "America", Pires contributed a true musical theatre number, singing in a simulated Puerto Rican accent and centering her focus on her character's consistency.

The dancing became somewhat of an extravangza with countless cast members on stage. The energy and enthusiasm of standout dancers, seen in numbers such as "The Dance at the Gym" and "Officer Krupke", made up for the slight uncoordination.

The technical aspects were ingenious, with a stellar set and convincing lighting arrangement. A simulation of night was incredibly believable, made successful in part by lights behind windows and a lone street lamp. The set, complete with a balcony and character-interactive areas, had a brick texture and scenery other than the city street. Scene changes were fluid, especially when Doc's drugstore was swiftly procured by cast members, who conveniently rolled the store out from the permanent set, while in character.

AW Dreyfoos School of Arts' made West Side Story's emotional tolls of yearning, antipathy, and acceptance a success.