Standing in the back of the Capitol Theatre, you can smell the specific cocktail of floor wax, old velvet and stage dust that signals a massive production is about to break cover. It is a heavy atmosphere. Arts Collective Theatre (ACT) is not just returning to the stage; they are attempting to reclaim a throne that has sat vacant since the world went dark. This Windsor powerhouse is known for its high-stakes musical stagings, but there is a different kind of electricity humming through the wings this time. It is the weight of an eight-year legacy coming full circle.
The choice to mount *West Side Story* as their post-COVID "triumphant return" is both a nod to their origins and a calculated risk. It is a show that demands perfection in three disciplines: acting, singing and the kind of athletic dance that usually breaks ankles. ACT’s president and director, Chris Rabideau, is not hiding from the pressure. He seems to be feeding on it.
"West Side Story was the perfect choice," Rabideau says. "It’s where we began eight years ago when we formed ACT. And it was the perfect show to bring us back again for ACT II."
But calling this "ACT II" is more than just clever branding. It is a recognition of the company’s evolution. They are no longer the scrappy upstarts they were nearly a decade ago. And yet, the decision to return to this specific well was not made in a boardroom; it was born out of the isolation of the last two years.
"The idea for this came about during the pandemic when I was thinking of what show would be great for us to begin again with—it became the obvious choice," Rabideau says. "First, this show is my favourite show. Second, I thought it would be wonderful to bring a show where people in high school and yet people who are retired would love the show. It’s universal."
That universality is currently being tested by a cultural resurgence of the property. Steven Spielberg’s 2021 cinematic reimagining did more than just win awards; it recalibrated how modern audiences view the Jets and the Sharks. For a local theatre company, that is a double-edged sword. You get the built-in interest, but you also get the inevitable comparisons to a Hollywood budget.
Rabideau is leaned into that comparison rather than shying away from it. He recognizes that the film served as a massive marketing engine for the stage version.
"I think the film really helped to generate new interest with younger audiences," he says. "The director did a great job of making the story feel new again. Spielberg was really able to enhance and bring new life to the already amazing score and script."
His appreciation for the film goes beyond mere box office synergy. He views the 2021 version as a necessary update on the source material’s bones, particularly regarding the authenticity of the Puerto Rican experience.
"Oh, I loved the new film adaptation," Rabideau says. "I think they were able to even bring more diversity to the show. That was authentic. I thought it was cinematic and the cinematography was gorgeous. It’s commented my already great love affair with this show. It did inspire me to direct the trailer for the play. If you get a chance check it out on our page. You can see our Jets and Sharks featured."
But do not expect a carbon copy of the movie. The ACT production is a Frankenstein’s monster of influences, stitched together from the 1957 Broadway roots, the 1961 classic film and the Spielberg update. It is a hybrid approach that allows for a specific kind of local flair.
"I think this version of West Side Story brings a little bit of everything," Rabideau says. "I have echoes of the original, I have new ideas brought to life by the new movie and of course we are left with a beautiful script that works so well. And yes… we have made it our own."
The "making it our own" part is where Rabideau’s directorial philosophy gets interesting. He views the show not just as a tragedy of star-crossed lovers, but as a brutal critique of the American identity.
The set will run 20 feet up in the air. ... This is the biggest set that ACT has ever done. ... I want to show the transition after World War II of rebuilding America and yet also showing the destruction of society. ... When ACT goes big, we go big! I told my team if we are coming back from a pandemic everything had to be top tier.
"What makes the story so riveting is its passion—everyone is fighting for something," he says. "Everyone has a dream that never fully reaches its full potential. It reminds us that the American dream is built on nothing more than an idea captured only by some."
It is a grim outlook for a musical, but *West Side Story* has always been more Shakespearean than its bright melodies suggest. The DNA of *Romeo and Juliet* is visible in every frame, every scene and every violent encounter.
"I think part of the appeal is that it’s a story that’s built on a plot that was made successful by Shakespeare," Rabideau says. "It’s a story we can relate to. It’s always funny because I know how the show ends and every time, I’m almost shocked when I see the ending scene like I didn’t know what was going to happen. I love that this show makes us fight for the characters—we want people to win. That’s why the end is such a gut punch."
When you talk to Rabideau, you realize he is not just directing from a distance. He is embedded in the conflict of the show. Asked to choose a side in the central turf war, he does not hesitate to identify with the marginalized.
"I see myself in a little bit of both Jets and Sharks," he says. "I think I will choose the Sharks—in one sense that my passion whether it be for theatre or life runs through my veins just like the Sharks. I also understand what it’s like to not be accepted and live life as a minority. I have had to walk inside the lines of diversity. Perhaps I’ve always felt like the underdog and so perhaps that’s why I see myself in both. As a director, I’m fighting for everyone."
That fight translates into specific technical choices. While the show is famous for its "Rumble" and the high-energy "America," Rabideau is finding the gold in the character-driven moments that often get overshadowed by the choreography.
"There’re so many great moments in the show," he says. "My favourite is probably the song 'Gee, Officer Krupke.' The amount of energy that will come out of that scene from these boys is going to be jaw dropping. I also love the 'taunting scene' and the 'rumble' because it’s riveting. For fun I would say 'America' because it brings me joy."
But here is the critique: ACT has a reputation for being "big," sometimes at the expense of the smaller, intimate beats. To combat this, Rabideau has developed a 10-page thesis for the cast. It is a dense, intellectual approach to a medium that is often dismissed as pure spectacle.
"ACT prides itself on how we take risks and offer unique ways of bringing a show to life," he says. "When ACT starts a show, we build from the ground up. I usually get a feeling from the music—it has to move me. West Side Story moves me. When I started this process, I sat the team down and read them over a 10-page thesis about why we were doing the show. One of the highlights was I was introducing a concept called the 'universe of light.' The show is very dark but I want to illuminate Maria and Tony’s love with light… so you’ll have to come see the show and understand what I mean by that. When you see the universe of light in the show, you will see how love (light) can shine in the dark spaces."
The casting for this production is a story in itself. Rabideau has a habit of ignoring the traditional headshot-and-resume route, opting instead for a more visceral "vibe check." It is a risky move that could either lead to a raw, authentic performance or a technical disaster.
"I think they are going to be impressed by the acting and dancing," he says. "We have a lot of new people who have never been on stage before in lead roles. It’s a running joke now that I will find leads in the strangest places. I will ask them if they sing or if they’ve ever acted and I can’t explain it but I just get a feeling. Next thing you know they’re on stage and they are the lead of a major production. Yes—that is no different for this production and yes you will find hidden talent that has never been awakened until now. I won’t lie it’s a lot of work but the payoff is tremendous. I also think the dancing in the show is phenomenal. Early last spring I called Tiffany Chan who is the artistic director of Windsor Dance Experience. Moya told me it’s a longshot—she’s so busy and she has her own company she’s running but, in my heart, I knew I wanted somebody who understood dance for theatre. This is a dance show. And now here we are and I think she’s done some great pieces in the show. These are non-dancers dancing epic choreography. I have also taken many liberties with the choreography and instructed my team to go to new places with these songs. For example, 'Somewhere' is going to be completely contemporary."
The cast list reads like a series of chance encounters. Gianluca Leraci (Tony) and Bella Mancina (Anita) are returning to the stage after years of absence. In Mancina's case, the connection was purely accidental.
"As I said before we have casted a lot of new people to stage," Rabideau says. "Tony who is played by Gianluca Leraci and one of our Anitas played by Bella Mancina have not touched the stage since the first year of high school. Fun fact… I taught Bella drama online last year where I am a professor at the Faculty of Education. I had over 250 students… and she was quiet and never came on camera. I never even knew until she told me just weeks ago that she was in my class. It’s funny how things work out."
Then there is Peter Corio, playing Chino, who had zero theatre experience before this. He reached out to ACT because of their social justice work. Juan Pablo Cano, playing Pepe, was discovered at a bingo hall.
"The character of Chino played by Peter Corio has never touched theatre," Rabideau says. "I got an email from him one day out of the blue last spring interested in our social justice works that ACT produces every year. He wanted to know more. So, he came to our last senior show last winter and now of course he’s playing the role of Chino. It’s his first show of all time. Juan Pablo Cano who is playing Pepe I found when I was volunteering at a bingo hall. He is from Columbia and brings the Spanish passion to life. He moved here when he was young. He told me 'I don’t know if I can be onstage'—now he is a featured role."
To balance the newcomers, ACT has brought in veterans like Kyle Cloutier and Jim Walls. It is a necessary anchor for a production of this scale.
"We also have some staples to the ACT family like Kyle Cloutier who is playing an explosive Action," Rabideau says. "You may remember him from playing the lead in Hair. Jim Walls who has been in several community productions with many theatre companies will be playing Doc."
Visually, the production is aiming for a "minimalist massive" aesthetic. The set is a 20-foot-high beast that utilizes every available fly at the Capitol Theatre. It is designed to look like a neighborhood in the middle of a demolition.
"The set!!! Will run 20 feet up in the air," Rabideau says. "We’ve used every single fly we can use in the theatre that’s available to us. This is the biggest set that ACT has ever done. I designed the set to look minimalistic and yet be large and fill the space when it needs it. I like the theme of tearing down America. You may see a hole in walls as if a crane has been knocking down the neighbourhood. I will be exposing everything. There will be no back cyc to hide the empty walls of the space—I wanted the bare theatre walls surrounding the stage. I want to show the transition after World War II of rebuilding America and yet also showing the destruction of society. You will see lots of Americana. Flags and even underwear. When ACT goes big, we go big! I told my team if we are coming back from a pandemic everything had to be top tier. We have spared no expense. Vision is very important to us. It’s all starts with an idea—and this one was 'Light'."
And he is already looking past the final curtain call of this run. The 2023 season, titled "Life in Colour," is already in the works, featuring a revamp of *Guys and Dolls*.
"Next year will be called 'Life in Colour,'" Rabideau says. "It’s important that next year we celebrate comedy, colour and a heightened reality. And yes, even in this show’s business I somehow have come up with a new vision, thesis and a new direction for next year. I’ve always enjoyed picking old shows and revamping them and of course next year we chose 'Guys and Dolls' for our major musical and yes it will be revamped for the stage. I think that’s what people have come to expect from an ACT show—all the bells and whistles and yet something different that no one else is doing. I had a team member say to me the other day 'the reason why I do ACT shows is because you’re not going to see another show like it in Windsor'—people come to us because you know you’re about to witness something unique and exciting. Please look at our website to look at our next season announcement—all the shows are listed there."
The show runs from Oct. 14 to 23 at the Capitol Theatre in Windsor. Tickets are $35 for adults, $30 for seniors and students and $20 for youths available at actwindsor.ca. Don't expect a quiet night at the theatre. Expect a fight.
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