"West Side Story" is a musical whose ageless themes are trapped within the narrow confines of Manhattan's West Side slums, circa 1955. Pioneer Theatre Company's new production tries to release the show from its dated "Daddy-O's" and "buddy-boys" by deconstructing the original setting. The result is refreshing, but sometimes sacrifices emotional impact.

   The new setting for this tale of interracial gang warfare is still the 1950s - but not quite. In this alternate reality, scenes change in an instant, à la MTV. Even the story's plot elements seem geared for the Windows generation: Click on the icons and they expand.

   Fragments of walls, windows or fences hint at the real thing. Projections of Andy Warhol-like images identify changing scenes, leaving imagination to do the rest. You see Tony's Anglo features and Maria's Latina beauty, but can fill in the blanks yourself - with any groups separated by misunderstanding and hatred.

   The show's unusual conception is a joint effort of director Gabriel Barre and choreographer Jennifer Paulson Lee and, fittingly, movement is paramount. The dance scenes use the original Jerome Robbins choreography as a taking-off point for a sizzling update, and they look fabulous.

   Set pieces glide and twirl, too, powered by characters from the story, as when a stairway twists to center stage as Tony (Jeff Applegate) perches on top for a song. We even see the rarely performed dance sequence in Act II - a symbolic (and overwrought) Dream Ballet highlighted by boy soprano Kooper Campbell's touching rendition of the song "Somewhere."

   George Maxwell's fluid, evocative set design integrates seamlessly with the theatrical vision of Barre and Lee, and Karl   E. Haas' lighting design proves to any doubter that light can pack an emotional wallop - note the swirling shapes that heighten tension during Leonard Bernstein's taut jazz fugue, "Cool."

   Most of the time, the redo works. After all, "West Side Story" wasn't truly literal to begin with. Its tale of meeting, loving, warring and dying plays out in an improbable couple of days, as does the plot of Shakespeare's "Romeo and Juliet," on which it is based.

   You can't help but admire the intelligence and boldness on display here. Somehow, though, Tony and Maria's love story bcomes impersonal in this slick, busy conception, and its tragic conclusion is thus less painful than it should be.

   Viewers who know "West Side Story" from its film incarnation might be surprised to find that scenes containing the songs "I Feel Pretty" and "Officer Krupke" occur after the deadly rumble between the Jets and Sharks in the stage version, instead of in the first act. Unfortunately, these comical songs feel out of place when they follow the needless deaths of two likable characters, even if taken satirically. Though PTC is right to perform the script as written in this elaborate professional production, the choice is problematic.

   As is often the case with "West Side Story," the Puerto Rican characters generate more heat, and interest, than their Anglo counterparts. Deborah Lew's Maria is lovely and vulnerable, then passionate; her brother Bernardo (Enrique Acevedo), leader of the Sharks gang, is exotic and attractive.

   Best of all is Jennifer Rias, whose sexy allure and high-kicking dance moves make for a memorable PTC debut in the role of Bernardo's fiery girlfriend, Anita. As Riff, the leader of the Jets, Mark Ledbetter turns in a strong performance, too.

   "West Side Story's" most timeless element is its challenging Bernstein musical score, which almost tells the story by itself. In his final performance as PTC's music director, James Prigmore keeps his pit orchestra tight, balanced and on-pace during this intricately timed production. We can always wish for better orchestral sound quality in Pioneer Memorial Theatre, but that is no knock on the players or Prigmore. He will be missed.

   Let's rumble

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