A transcendent "West Side Story Suite" in PNB's Broadway tribute

"Unlike most classics, 'West Side Story' grows younger," intoned a voice from a movie trailer, projected above the McCaw Hall audience; not the sort of thing we usually hear at the ballet. But Pacific Northwest Ballet's performance of Jerome Robbins' "West Side Story Suite" — and, indeed, the entire evening — was a welcome reminder that glorious musicals never die. The audience immediately began snapping fingers along with Riff during the prologue; each remembering, perhaps, their first viewing of it long ago.

"West Side Story Suite" melds together seven crucial dances from the musical, distilling it into an intense, ever-pulsing half-hour. Seth Orza, as Riff, hadn't even caught his breath from the frenetic mambo of "Dance at the Gym" when he launched into the tense, jazzy rhythms of "Cool" — and sing it he did, quite credibly. Carla Körbes (unrecognizable in a dark wig) brought fire, spirit and impossibly high kicks to Anita; Laura Gilbreath, as Rosalia, revealed a genuinely sweet singing voice.

And Lucien Postlewaite, already PNB's go-to Romeo, gave us a Tony fairly vibrating with expectation (the air was humming, indeed) and aching with young love. With Sarah Ricard Orza as a shy Maria, the "Somewhere" duet was magical; they did seem to be dancing alone, in that better place the song speaks of. As Leonard Bernstein's music soared and the vast cast sang the final chorus, "West Side Story Suite" became transcendent, bringing the audience to its feet. This haunting work, truly, will never grow old.

Richard Rodgers' music shone in the evening's other two PNB premieres. George Balanchine's "Slaughter on Tenth Avenue" (from "On Your Toes") is absurd fun to watch, particularly Jonathan Porretta's elaborate Russian accent and Jeffrey Stanton's masterful tapping, with a casual slouch worthy of Fred Astaire. Lesley Rausch, as his love interest, needed more dramatic oomph, but her dancing was spot on, particularly a series of to-the-ceiling kicks as she's flopped backward over Stanton's arm.

Christopher Wheeldon's romantic, lyrical "Carousel (A Dance)," inspired by Rodgers & Hammerstein's musical, turned the cast into a whirling carousel. Caught up in it were Orza and Körbes, in a pas de deux that wove around and through the ring of dancers. Their interactions told a story, from ethereal unison to Orza's wonderfully acrobatic leaps to a sudden, ominous silence as he pulled her toward him; the carnival-bright stage seeming suddenly shadowed by clouds.

Broadway choreographer Susan Stroman's boppy "Take Five," created for PNB last year, felt a bit out of place as it isn't from a musical, but it's still infectious fun. Turns out there are plenty of Broadway babies at PNB — and, if you can't get to the Great White Way, this colorful evening of dance just about takes you there.

Moira Macdonald: 206-464-2725 or mmacdonald@seattletimes.com