I probably familiarized myself with West Side Story far before Romeo and Juliet. If the annals of my suspect memory serve me correct, I watched the Robert Wise and Jerome Robbins film with my mother or grandfather at an early age.  

This experience from my youth likely took place in the early 90s; still, even then, as a distractible elementary student, I can remember both of them wildly enjoying it. To them, this truly was “the greatest love story of all time,” to quote everyone pre-Generation X.  

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I suppose it’s the bleak phenomenon of stories produced by subsequent generations. I remember sitting down in front of my anchor of a textbook in high school English class – the words “Romeo and Juliet” splayed across the glossy page.  

The last thing I wanted to do was read Romeo and Juliet, what with the virtual worlds (and stories) contained in video games and comic books at my fingertips. More than likely, I was required to type a five-page essay filled with my thoughts on the Elizabethan classic.  

And more than likely I did poorly on it. I didn’t understand the touching truths embedded in the language, nor did I feel the story’s relevance in my life.  

Same with experiencing the West Side Story revival at the Pantages Theatre in Los Angeles.  

Challenged with a base story from the late 16th century and source material from the 1960s, I dreaded the idea of constructing a relevant take on anything regarded as beloved.  

But then someone remarked: “The real challenge with this West Side Story revival will be if younger generations want to see it.”  

That really is a great premise; unfortunately, it’s neither here nor there in dissecting West Side Story’s inevitable success. Already granted an extended run, the musical will be packed each and every night by grandfathers and grandmothers, fathers and mothers, all previously enchanted by the torrid love affair of Natalie Wood’s “Maria” and Richard Beymer’s “Tony” set to Leonard Bernstein’s addictive score.  

And scattered amongst all of them will be bits and pieces of Generation Y, individuals like myself exposed to more and more mainstream tripe every year. And heaped with the amount of innovative novels, films, graphic novels and online web series, it’s obvious that we are a story-spoiled bunch, the effect of which may dilute the accolade “the greatest love story of all time.”  

But is Romeo and Juliet “the greatest love story of all time”? Probably, since enough people say it is, but when it comes to a 2010 revival of West Side Story, I don’t think it matters.  

What matters is what enlivens a story, what people remember – not necessarily the story itself – and what is draped over this 21st century rendition of “the greatest love story of all time” is some adroit singing, superhuman dancing and truly overpowering sets.  

The first instance of this all coming together occurs when Tony and Maria first meet. Inside a gym – determined by a large overhanging basketball hoop and iridescent streamers – two sides, Puerto Ricans on the left and Anglo New Yorkers on the right, are trembling with youth. Members from gangs, the Jets and the Sharks, are there, mixing hormones with violence.  

Then, suddenly, there’s an explosion of limbs during the dance number, with both sides colliding, intermingling, and it’s a rare athletic feat that defies replication. How so many bodies can hurdle, slide, shake and twist with such little open space on the stage is an enigma. No room on the stage? Then launch yourself into the air and land where they ain’t! 

Often times, the actors do this while singing, and it’s unfortunate that the cast’s consummate talent doesn’t radiate until the second act when “Gee, Officer Krupke” suddenly justifies your attendance.  

Mimicking the ill-tempered officer with delight, the Jets glide over the stage roughhousing and singing about their upbringing. The whole scene – filled with the appropriately-young actors – bursts with the musical (and material’s) most honest theme: the impetuous nature of youth.  

When Tony and Maria first set eyes on each other, they immediately fall in love and run with it. No set up for their relationship, but it’s inconsequential. That’s something that happens in youth. “The greatest love story of all time?” Who knows? To dumb kids, love at first sight is not only possible, but frequent.  

Mashed between the million stories floating through 21st century culture, the plot of West Side Story won’t affect younger generations much like it did the baby boomers and their parents. The angle of star-crossed lovers, two kids from different neighborhoods, forbidden love, etc. just won’t strike the young soul quite as directly in today’s melting pot. This, though, is actually indicative of social progress.  

What West Side Story newcomers will appreciate is something not unique to the story. The characters fight, fall in love, ignore advice, sneak around and break promises – all without any traces of forethought. That’s youth.