Anita, who is played in a star-making performance by Karen Olivo, also demonstrates the best use of implementing Spanish into the script, a technique that both helps and hinders this production. In order to heighten the distance and differences between the two groups, several songs, or verses in songs, are translated to Spanish. For veterans of the show, this could enhance the performance, but for newcomers to West Side Story, it may make the performance confusing and difficult to follow. It is a testament to both Scaglione and Olivo’s acting that hearing the lyrics of “I Feel Pretty” and “A Boy Like That” sung in Spanish do not detract from the emotion of the scenes, and their physical acting depicts the necessary emotions to understand and appreciate the scenes.

Perhaps even more than its plotline, West Side Story is famous for its dancing, and this show delivers upon that promise amply. The choreography is both athletic and energetic, but it is only when Olivo takes the stage, her long hair and twirling skirts filling the stage, that Robbins’ work is truly being done justice. This Anita is world-wise, but not weary, an immigrant determined to make the most of her new home, and she is given an honest energy by Olivo. Whether she is espousing the virtues of America in the famous song of the same name and fury and grief at losing her lover in “A Boy Like That,” she is a real, flesh and blood character, which is more than can be said of most of the gang members.

Directed by Laurents, the majority of the show is swift and efficient, packed with high kicks and twirling skirts. The only exception to this takes place in the second act, when a bizararelly staged concept ballet with the majority of the company dancing on what appears to be a beach, and a young boy appearing out of nowhere to sing, “Somewhere.” In a classically staged production, this concept ballet is jarring, causing more confusion than sentimentality or hope.

Despite the violence and anger, the overall message of the show is a hesitant, timid hope that results from drastic, and tragic, circumstances and mistakes. Tony and Maria do not get their happy ending, but it’s easier to leave the theater humming, “Tonight” then hearing the echo of a gunshot. Even though the show ends with death, it also ends with a small sliver of hope. And in this day and age, after dating has been reduced to Facebook status updates and text messages, this critic got gossebumps while listening to Tony and Maria’s fire-escape serenade, and I’m pretty sure I wasn’t the only one who did.