"West Side Story" may or may not be, as Pittsburgh Musical Theater's Ken Gargaro says, the greatest musical ever written, but it is one of the most durable. And when it's performed well, as it is in the current PMT production at the Byham Theater Downtown, you can see why.

The Romeo and Juliet story of young love doomed by warring tribes is timeless, and so, apparently, is the animus between the grandchildren or great-grandchildren of immigrants and new immigrants moving into the same neighborhood. Leonard Bernstein's complex music still sounds intricate but catchy, and Lisa Elliott's adaptation of the original, distinctive Jerome Robbins choreography is full of restless energy and exuberant precision.

A half-century or so after the musical's debut, though, we take our street gangs more seriously. These Jets and the Sharks are the most graceful and clean-cut punks ever to snap in rhythm, and I'm sure some of the younger members of the audience were amused by the quaint slang (buddy boy) and wondered how you can have a gang war with only one gun.

If some aspects of "West Side Story" are starting to feel dated, that takes absolutely nothing away from the talent and hard work of the PMT cast, whose youth -- many of them are in high school or college -- sharpens the theme of tragic waste. The ensemble numbers are tight, vibrant and riveting. And if you know anything about big musical numbers, you know that soaring effortlessness is achieved only with huge effort.

Standouts among the supporting players are Alivia Owen as feisty Anybodys, Alysha Watson as a wistful Rosalia and Sean Ewing as an aptly named and impeccably timed Action.

The kicks and skirts swirl around the pairing of Tony and Maria. David Toole's Tony is warm and good-natured without being a chump and virile without losing his wholesomeness. From his first appearance, Toole underpins his ardor and optimism with a hint of maturity and a voice to match: strong, sure and appealing.

The confidence and fearlessness Maria inspires make his doom more poignant, and Toole's crescendo of desperation as his plans unravel makes the end no less affecting for being familiar.

Kathlene Queen's Maria is never believably Latina but radiates playful innocence and sweetness. She sings like a bird; her sturdy, fluid soprano is never brittle or shrill even on the highest notes. Together, Toole and Queen nail the fleeting, intense rush of attraction that drives lovers to deeds brave, rash and ultimately disastrous.

Queen and Emily Lynne Miller as Anita both wear faux-tan makeup that doesn't serve them well, but Miller so overflows with Rita Moreno-like sass and sexy snap that it's hard to care. The drugstore scene of her humiliation is raw and electric.

Michael Greer as Riff leads the Jets with athleticism and charisma, distinguishing himself in the thrilling "Cool." Don't look away during that number, even if you can.

"America" and "Gee, Officer Krupke" are every bit as much fun as they should be, and the fantasy ballet (there's something you don't see anymore) is hokey but also somehow cleansing.

I could grouse about the occasional noise from the lavalier mikes -- particularly distracting during the final pieta embrace -- and wish that the cord weren't so obvious when Tony is shirtless, but why rain on such a winsome parade?

When you're a Jet, you're a Jet all the way.