The tale of the Jets and the Sharks, and of star-crossed lovers Maria and Tony, has stayed as fresh and innovative today as when it was first staged 50 years ago, with its narrative of gangs and lost youth.

A vibrant, new stage production of the classic dance musical, which completed its run at London's Saddler's Wells last week following sell-out performances in Paris, Tokyo and Beijing, is now heading off on tour, appearing at Bristol Hippodrome from June 30 until July 11, next year.

And, as the Evening Post's entertainment reporter, I was one of the lucky few invited to the capital see the show earlier this summer.

Cited by many as the best Broadway musical of all time, West Side Story took the story of Romeo and Juliet and thrust it in to the world of New York street gangs in the Fifties. With music by Leonard Bernstein, lyrics by Stephen Sondheim, a book by Arthur Laurents and unparalleled choreography by Jerome Robbins, it was explosive theatre then... and it's just as incendiary now.

Set on Manhattan's Upper West Side, West Side Story explores the rivalry between two teenage gangs; one white and the other Puerto Rican.

When Tony falls in love with Maria, the sister of one of the rival gang's leader, the feud takes on a new dimension.

As their love blossoms, so begins a fatal journey overshadowed by violence and hatred.

The production's potent dark story, extended dance scenes and the unforgettable songs including Maria, Tonight, Somewhere, America and I Feel Pretty, have become part of public consciousness the world over.

The London cast (which will change for the Bristol run), with director/choreographer Joey McKneely at the helm, has a triple-whammy of talents – singing Leonard Bernstein's often dissonant score beautifully, playings Fifties' teenagers convincingly, and performing Robbins' dazzling choreography with power and passion.

Much has been written over the years about Bernstein's stunning score and Sondheim's moving lyrics, and they remain a joy.

But what really sets this musical aside from others is the choreography, which is simultaneously classical and modern.

Jerome Robbins' original choreography has been painstakingly recreated by McKneely, who was Robbins' former assistant. The moves are as slick as the flick of a knife as the Sharks and the Jets zip and glide across the stage. The group numbers, in particular, are visually striking and exhilarating. The performances are also emotionally compelling. Anita's assault by the Jets is truly unsettling – they toss her to the ground, spitting racial epithets, and rape her, revealing the true ugliness of this violent world.

The messy fall-out from the fateful rumble under the bridge also packs quite a punch.

These scenes have even more poignancy because the bitter battles between the Jets and the Sharks mirror today's list of stabbings and shootings, as a result of gang rivalries.

On the downside, Paul Gallis' set is somewhat distracting. His collage of fire escapes and balconies swing in and out of view, and has an audible whirr when the various pieces move.

In addition, the group number There's A Place For Us, where the entire company takes to the stage in white outfits, including the now deceased Bernardo and Riff whose vests have matching bloodstains on the front, is more mawkish than moving.

However, these are small criticisms of a fabulous show. This 50th anniversary production confirms West Side Story to be a great artistic achievement, with an enduring significance, and tickets for the Bristol run are sure to be snapped up fast.

West Side Story appears at Bristol Hippodrome from Tuesday, June 30, until Saturday, July 11, 2009. Tickets cost £14.50-£34.50 – call 0844 847 2325.

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