Though the gang violence raging in Oldham this week acts as a chilling reminder of West Side Story's continuing relevance to today's society, it is not this lasting relevance alone which makes it so enduringly popular. True, different ethnic groups are still beating and killing each other on the streets of cities the world over, just as the whites and Puerto Ricans were in 1950s New York. But West Side Story is, above all, a love story, and as such is no more nor less perennially relevant than any other love story. Besides, West Side's violence is always at one remove, necessarily sanitised to make good theatre; it is hard to imagine the youths of Oldham interspersing their fighting with spectacularly energetic dancing competitions, or entertaining each other with hilariously clever songs at the expense of the local constabulary. And the language isn't nearly bad enough.

What keeps the crowds flocking to West Side is its moving story (if rather unoriginal - it is fitting that Romeo and Juliet is playing just down the road at the OFS); its wonderfully clever, bittersweet lyrics (when Stephen Sondheim started writing musicals all by himself, they tended to achieve most of their acclaim on the strength of their words); and, perhaps most importantly of all, Bernstein's dazzling score. At once jarring and melodious, angry and sentimental, brash and delicate, the music leaves you with tunes to hum at the same time as moving you insidiously to tears, and has you tapping your feet at the same time as it dazzles with its symphonic complexity. Bernstein's score is made for dancing, and this is where many productions can fail: if the movement on stage does not live up to the excitement of the music, one is left feeling one has missed out on something.

For the final ingredient that made West Side Story such a smash hit at its 1957 premiere was Jerome Robbins' spectacular, ground-breaking choreography. And this is why Oxford audiences should make every effort to get to Apollo theatre before 9th June; for this production, touring Britain after an acclaimed run at the West End, recreates Robbins' choreography in all its breathtaking, energetic detail. Robbins brought ballet to the musical stage: from the moment the curtain rises one finds oneself captivated by the intricacy, drama and fluidity of the movement on stage - true poetry in motion. Granted, it is hard to feel truly threatened by any "hoodlums" who are capable of such beautiful dancing, but the choreography does take a violent turn when the occasion demands. And besides, the gangs' dancing is made to look hardened and masculine by comparison when the Puerto Rican girls get their skirts flying in America.

Spectacular choreography would, of course, be nothing without a spectacular cast to perform it, and this cast is just that, making the dance steps look easy, and infecting the whole performance with youthful energy. Particularly impressive were Julian Essex-Spurrier as an inspirational yet vulnerable Riff, and Emma Clifford, whose sultry looks, fine deep voice and elegant dancing made her a thoroughly sensuous Anita. A wonderful show performed with real panache, this production is only in Oxford for 9 more days: don't miss your chance to see it.

Matthew Rogers, 30 / 5 / 01