On the heels of The Sound of Music and The Wizard of Oz comes the latest entry in the musical audience participation revival genre: West Side Story.

West Side Story is one of those enduring art works that almost defies any kind of rational criticism, which is a high compliment in this case, because the fever-pitch mix of comedy, romance, music, innovation and tragedy, all culled from good old Shakespeare, still feels as fresh today as it probably did in 1961.

Romeo and Juliet transplanted in Manhattan's Upper West Side circa 1950s, the feuding Montagues and Capulets are immortalized by the rival street gangs The Jets (native New Yorkers) and the Sharks (Puerto Rican immigrants), and there are healthy undercurrents of race and class in the story, with the "PRs" - Puerto Ricans - serving as immigrants who have come to New York for a better life.

The story follows Romeo and Juliet loosely, but the basic structure and framework remains, with young Maria, the sister of the gang-leader for the Sharks, falling in love with Tony, a charismatic former member of the Jets. Tony has left the gang lifestyle behind but reluctantly agrees to attend a local dance where the star-crossed lovers meet, and the rest, as they say, is history.

If you haven't seen the film in many years, what you love about it all comes back - the absolutely smashing and stylized gang choreography, an incomparable and on-fire Rita Moreno and George Chakiris, the immortal music by Sondheim and Bernstein. The film is most alive when the many musical numbers are in full swing, particularly the energetic "America" performed with daring confidence by the Oscar-winning Moreno.

That some of the music is dubbed by other voices, including that of leads Natalie Wood and Richard Beymer, has always bothered me in some small way. The music is gorgeous. The leads are fairly capable actors. But if they couldn't sing, what were they doing in the film to begin with? I know, I know. West Side Story is not about realism. And when their songs start, the beauty of the music is transporting and it becomes a non-issue. But hefty credit for their muscular voices must go to the unseen singers Jimmy Bryant and Marni Nixon, who replace Wood and Beymer's thin voices with a full sound that is equal to the genius of Leonard Bernstein's score.

An enduring stage legacy that began on Broadway in 1957 and continues in theatres worldwide today, the universal appeal of this timeless tale has been proven by its amazing longevity. Numerous accolades, including ten Academy Awards for this filmed version, further bolster its status as one of cinema's most beloved films.

Like the recently released "Sing-a-Long Sound of Music", the enjoyment here is in the audience participation, not so much the actual experience of revisiting the film. Participants are given a grab bag of fun goodies to be used at various intervals throughout the film, including an inflatable nightstick for "Gee, Officer Krupke," as well as a mirror, tissues, bubbles and a "clicker" for the incessant fingersnapping during the gang numbers.

The lyrics to each song are subtitled on the screen. so it's a given that everyone becomes an entertainer by the time the film reaches its tragic climax. And by the film's conclusion, West Side Story's classic elements have been transformed via this extraordinary audience participation into something totally unique. Ultimately, the movie became more about what the audience put into their viewing of the film. And that's just fine. The preview audience I saw the film with dug every minute of the extravaganza, creating a party-like atmosphere that was infectious.

If you haven't seen the film before, I'd recommend seeing the new anniversary DVD release before participating in the sing-along. That's the only way to grasp the greatness of the film, uncluttered by all of the extra elements. But if you're a fan of the movie and looking for a great time, by all means check out this unusual presentation of a timeless classic.