‘Could it be? Yes, it could,” sings Tony early on in West Side Story. He continues: “Something’s coming, something good, if I can wait!” His optimism is soon cruelly misplaced, as rival New York street gangs the Jets and the Sharks square up for a rumble underneath an elevated roadway. A rumble equals a fight, and murder results.

The use of racial conflict between Puerto Rican and native white gangs to highlight the Romeo and Juliet tragedy of lovers Tony and Maria broke new ground when West Side Story opened in 1957. 50 years on, most would agree that the show has become a 20th-century classic, and 50 years on it was decided that it was high time for a new production. That’s the version now on stage at the Wycombe Swan.

It all begins much as before. Lieutenant Schrank (Ged Simmons), who is trying to discover the rumble location, still wears a crumpled grey suit and matching trilby. His sidekick, Officer Krupke (Martin Chamberlain) is still bulky of build and dim of brain.

But the action now takes place within a most effective new set design (Paul Gallis). Towering up on either side are stacks of the metal fire escapes that are so much a feature of New York streets. These move in and out, making the atmosphere more or less oppressive as required.

As the Jets and the Sharks swarm down the escape ladders and into the first dance routine, another change becomes apparent. This West Side Story is as much a classical ballet as it is a musical: director Joey McKneely has lovingly recreated the original Jerome Robbins choreography.

But there is a price to pay. In an Oxford Times interview, McKneely confirmed that the show requires performers who are top-rate singers, actors, and dancers – composer Leonard Bernstein, lyricist Stephen Sondheim, and choreographer Robbins didn’t make anything easy.

Such multi-skilled artists don’t grow on trees, and it’s evident that McKneely has concentrated on the dance – although, to be fair, vital lost words may have been due to first night sound balancing problems, and to the vibrant band, which at times gets a little too explosive.

Among the leads, Sofia Escobar presents a vulnerable Maria, although her brittle voice isn’t an ideal match for Daniel Koek’s rather avuncular Tony. There’s strong support from Jayde Westaby (Anita), Dan Burton (Bernardo), and Howard Jones (Riff).

Overall, this is a tightly drilled, visually spectacular celebration of a 50-year-old masterpiece. But I did end up feeling almost completely detached emotionally.

West Side Story continues at the Wycombe Swan until Saturday, March 7. Tickets: 01494 512000 or online at: www.wycombeswan.co.uk