The Sage has a remarkable theatrical record considering it isn't even a theatre. The Northern Sinfonia's semi-staged cycle of Mozart–Da Ponte operas was impressive; the premiere of Tod Machover's Skellig marked a first venture into full operatic production. But this complete staging of Bernstein's masterpiece, presented as part of the World Shakespeare festival, trumps the lot.

It's accepted wisdom that West Side Story requires brownstones, fire escapes and every step of Jerome Robbins's original choreography. This version – directed and choreographed by Will Tuckett, conducted by John Wilson – strips the work back to its essential mix of opera, Shakespeare and street violence. The result is driven, dynamic and very, very dark.

Tuckett has been granted rare permission to adapt the choreography. The simmering, if slightly peculiar, concept of street thugs dancing each other to death has not been altered – it's still Sharks versus Jets – but there's a raw energy gained through the excitement of a young ensemble discovering the work for themselves.

The same holds true in the pit, where the Northern Sinfonia has been augmented by the saxes and horns from Wilson's own big band. As a native of Gateshead, there could hardly be a conductor better qualified to lead this event. Every passage is scrutinised and shaped for dramatic intent, but Wilson also knows how to make an orchestra swing so hard the chains go slack.

The cast, drawn from open auditions, features fine performances from Stuart Neal's pugnacious Riff, Leo Miles's plangently sung Tony and Daisy Maywood's affecting Maria. Yet the major discovery may well be Melissa James, whose imperious Anita has a jazz voice to die for – plus the acting chops to gain real purchase on a role that leads the story towards more sinister depths than even Shakespeare had in mind.