A sizzling performance of West Side Story ignited Eisenhower Auditorium with tension at 8 p.m. Friday.

Centered on the strained relationship of an Hispanic-American gang, the Sharks, and their white peers, the Jets, the musical explores the senselessness of ethnic barriers.

The Center for the Performing Arts production of this modern Romeo and Juliet contained fabulous dancing, but poor vocal quality. The actors' articulation was often unclear and distracted from the flow of action. Balcony patrons had difficulty hearing dialogue; those below had trouble deciphering the company's words.

However, the dancers transformed violence into beauty as the New York City hoodlums fighting for their "turf." The Jets' flying leaps and jumps gracefully contrasted with the Sharks' biting kicks and punches to create an artistic display. Jerome Robbins' original choreography also shined in "America". High stepping in colorful can-can dresses, the female dancers were playful and uplifting.

The staging of this production deserves praise. Time changes were cleverly denoted by color variations, on the cyclorama behind a wire fence. For example, early evening was produced by a light purple-blue haze. Series of moving platforms altered sets while the wire fence, fire escapes and graffiti plastered buildings remained inert.

Tension was prevalent throughout the show; however, several scenes provided comical relief. While filing out of a drug store after an unpleasant police visit, gang members whistled "My Country 'Tis of Thee." The element of surprise also acted as a relief from stress. When Tony is suddenly shot, the audience initially gasped, and then laughed nervously.

Entrancing love scenes between Tony, an American, and Maria, a Puerto Rican, were a delight. Situated on a balcony above their uneasy neighborhood, the couple embrace, willing to defy their peers' disapproval.

Another instance of romance occurred in the dress shop where Maria, portrayed by Christina M. Pierro, worked. Pretending their bridal party was composed of the shop's mannequins, the couple mimed a charming wedding. Bathed in a hopeful nighttime haze, the duo took vows for eternal love and sung "One Hand, One Heart."

"Tonight" also provided an exceptional display of harmony. Aggregated in seven groups, the community sang from fire escapes, boxes and balconies.

Although no one performer stood out as vocally gifted, Jet member Tony, played by Zachary Robbins, had a sexy, soothing voice. Maria's acting style highlighted the company's performance ability. Enraged by the deaths of her lover, her brother, and a Jet member, Maria convincingly threatens mourners with a loaded pistol. Gun in hand, she cries, "I can kill now, because I hate now."