Most Broadway musicals followed in the tradition of the 17th century German Singspiel (dialogue and singing).

In the l940s, the show “Oklahoma” added the ingredient of dancing to the mix. The dancing part came from the French style of opera in which ballet or dancing was an equal (perhaps more equal) to singing or dialogue.

In 1957 came “West Side Story,” the musical par excellence by Leonard Bernstein, with lyrics by Stephen Sondheim to a book by Arthur Laurents. This show changed everything. If cowboys could sing and dance (“Oklahoma”) then surely gang members (and their girlfriends) could do the same. The difference is that while the dancing in “Oklahoma” was not integral to the story, in “West Side Story” the dancing is not only significant, it is an integral part of the show.

“West Side Story,” now playing at the Hackmatack Playhouse, was the first of many shows based either on a pre-existent play or opera plot. For example, “Miss Saigon” is an adaptation of “Madame Butterfly;” “Rent” is an adaptation of “La Boheme.” Both are based on the respective operas by Puccini. Such shows as “Chorus Line” and many others followed in this tradition.

“West Side Story” is based on Shakespeare’s “Romeo and Juliet.” Instead of the warring houses of the Montagues and Capulets, there are the hostile gangs located in the West Side of New York City in the 1950s ”“ the Jets, local juveniles, and the Sharks, the recent Puerto Rican immigrants.

The action follows along the plot of “Romeo and Juliet.” Following a street incident, both groups meet at a dance which takes place in “neutral” territory. During the course of the evening, Tony (the former leader of the Jets) meets Maria, the sister of the Sharks leader, Bernado. It is love at first sight between these two. The gangs decide to meet later to discuss plans for a “rumble” (a fight.) Tony looks up at Maria (“Say it soft and it’s almost like praying”) and this meeting corresponds to the balcony scene of Shakespeare’s classic. Maria asks Tony to prevent the fight. Even though he tries, his friend and new leader of the Jets is killed by Bernado, who is in turn killed by Tony. Eventually Tony is killed by a Shark. The grief-stricken Maria (in a departure from Shakespeare) reconciles the two groups as the body of Tony is carried off the stage. (In “Romeo and Juliet” she kills herself seeing the dead Romeo … then the warring families forgive each other.)

There are many outstanding factors that deserve recognition in the Hackmatack production. First and foremost is the choreography by Crystal Lisbon. The “Dance at the Gym,” and “Somewhere” are two fine examples. The large cast executed these extended dance sequences with precision. The direction by Ms. Lisbon was also effective especially in the song “Tonight.” The sets by J.J. Craven were realistic and functional. Of the principals, Julia Estrada as Maria was outstanding. Her clear, sweet soprano voice was equal to the demands of the score. I predict a bright future for her. Trevor Worden’s Tony was at his best in the songs that were in his upper register like “Maria” and especially in the duet “One Hand, One Heart.” Meghan Morash as Anita shone in (“I want to be in) America” and especially in “A Boy Like That.” Hannah Shihdanian also impressed in “America.” The performance by the Jets in “Officer Krupke” was very well done. Also, I would be remiss if I did not acknowledge the super job by pianist/music director Adam MacDougal and his colleagues.

Performances of this show are not all that common in that the large cast calls for singers who can dance as well as they sing. While many shows do that these days, the show is still challenging to the performers in “West Side Story.” The show at Hackmatack continues through July 25 with evening performances at 8 p.m. and matinees at 2 p.m. Tickets range from $10 to $30 and may be obtained by calling 698-1807 or visiting www.hackmatack.org.

—Dr. Gold is a composer/conductor and an arts reviewer for the Journal Tribune.