Displaying items by tag: West Side Story

Music Theater Works is proud to announce the cast and creative team for the second production of its 2026 season, West Side Story, in the George Van Dusen Theatre, at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie, August 13 - 30.  West Side Story has a book by Arthur Laurents, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Music Theater Works’ production is directed by Sasha Gerritson, choreographed by Clayton Cross and Isa Ramirez, and music directed by Linda Madonia. West Side Story includes a preview performance Thursday, Aug. 13 at 7:30 p.m. All performances include Spanish supertitles. The performance schedule is Saturday, Aug. 15 at 7:30 p.m., Sunday, Aug. 16 at 2 p.m. (Post-show discussion), Wednesday, Aug. 19 at 2 p.m., Friday, Aug. 21 at 7:30 p.m. (ASL Interpreted performance), Saturday, Aug. 22 at 2 p.m. and 7:30 p.m. (Post-show discussion), Sunday, Aug. 23 at 2 p.m., Wednesday, Aug. 26 at 2 p.m., Friday, Aug. 28 at 7:30 p.m., Saturday, Aug. 29 at 2 p.m. and 7:30 p.m. and Sunday, Aug. 30 at 2 p.m. Tickets are now on sale from $19.50 to $106 with tickets for guests 25 years old and younger available at half-price at MusicTheaterWorks.com or by calling the Music Theater Works box office at the North Shore Center, 847.673.6300. Memberships for the 2026 season are also available at MusicTheaterWorks.com and group discounts for 10 or more people are available by contacting This email address is being protected from spambots. You need JavaScript enabled to view it..

A timeless tale of love and rivalry, West Side Story brings Shakespeare’s Romeo and Juliet to the streets of 1950s New York. Caught between the tensions of two warring gangs—the Jets and the Sharks—Tony and Maria find themselves drawn to each other despite the violence that surrounds them. Featuring iconic songs like “Tonight,” “America” and “Somewhere,” West Side Story remains one of the most powerful and enduring musicals of all time.

The cast of West Side Story includes Luke Nowakowski (any, Tony); Isabella Ruano (she/her, Maria); Connor Ripperger (he/they, Riff); Pauleth Jauregui (she/her, Anita); Emmanuel Ramirez (he/him, Bernardo); Kameron Rojas-Schueneman (he/him, Chino); Callan Roberts (he/him, Action/U/S Tony); Nathaniel Urie (he/him, A-Rab, social media captain); Elliott Hansen (he/him, Snowboy); Sterling Ford (he/him, Big Deal); Albert Johnston (he/him, Diesel/U/S Lt. Schrank); Mollyanne Nunn (she/her, Graziella); Jenny Couch (she/her, Velma); Jordan Beyeler (she/her, Anybodys, dance captain); Henry Cartaya (he/him, Pepe/U/S Bernardo, fight captain); Alex Villaseñor (he/him, Indio/U/S Chino/assistant choreographer); Jordan “J.Ro” Ordoñez (he/they, Luis); Xander Ramirez (he/him, Toro); Harmony Rose (she/her, Rosalia/U/S Anita); Veronica Camargo (she/her, Consuela); Juliet Lopez-Gutierrez (she/her, Teresita); Isabella Gomez-Barrientos (she/her, Margarita/U/S Maria); Matt Rosin (he/him, Doc); Ivan James (he/him, Lt. Schrank); Eric Desnoyers (he/him, Officer Krupke); Rob Schroeder (he/him, Glad Hand); Emma Jean Eastlund (she/her, ensemble Jet/U/S Anybodys, non-equity deputy); Cristina Benninghoff-Uribe (she/her, ensemble Shark/Female ENS swing); Eric Amundson (he/him, ensemble Jet/U/S Riff) and Thomas M. Shea (he/him, swing); Will Fischer (he/him, ensemble Jet/swing) and Jaxson Smith (he/him, Baby John).

West Side Story’s creative team includes Sasha Gerritson (she/her, director); Clayton Cross (he/him, co-choreographer); Isa Ramirez (she/her, co-choreographer); Linda Madonia (she/her, music director); Justin Kono (he/him, conductor); Nick Sandys (he/him, intimacy and violence choreographer); Rachel Rock (she/her, stage manager); Bob Knuth (he/him, scenic designer); Cecilia Chan (she/her, props designer); Bob Kuhn (he/him, costume designer); Kristen Brinati (she/her, wardrobe head); Alice Salazar (she/her, hair, wig, makeup designer); Melanie Saso (she/her, hair, wig and makeup lead); Chelsea Lynn (she/her, lighting designer); Forrest Gregor (he/him, production sound engineer); Keely Vasquez (she/her, casting director); Chris Chase (he/him, production manager); Katie Meine (she/her, company manager) and Kyle Dougan-LeBlanc (any with respect, producing artistic director).

West Side Story Special Events

Post Show Discussions

Behind the Curtain with Thomas M. Shea

Audiences are invited to stay after the 2 p.m. performance on Sunday, Aug. 16 and the 2 p.m. performance on Sunday, Aug. 23 to join musical theater historian Thomas M. Shea, author of “Broadway’s Most Wanted,” for a post-show talk exploring the behind-the-scenes history of West Side Story. Free with the performance ticket, this engaging discussion is perfect for audiences to learn about the production, its history and more.

“Somewhere: Belonging, Safety and the American Dream” 

With members of our community partners Chicago Latino Theater Alliance, Latinos Progresando and others

Audiences are invited to stay after the 2 p.m. performance on Saturday, Aug. 22 for a discussion hosted by Lauren Harper and members of West Side Story’s community partners 

Binny’s Broadway Lounge

Join Music Theater Works before the show and at intermission for a drink and snack in Binny’s Broadway Lounge. Located on the second floor at the North Shore Center for the Performing Arts in Skokie, the Binny’s Broadway Lounge doesn’t need a reservation, just check-in when you arrive for the performance. 

West Side Story dates are:

• Saturday, Aug. 15 (Lounge opens at 6:30 p.m.)
• Sunday, Aug. 16 (Lounge opens at 1 p.m.)
• Saturday, Aug. 22 (Lounge opens at 1 p.m.)
• Saturday, Aug. 22 (Lounge opens at 6 p.m.)

ASL Interpreted Performance

The Friday, Aug. 21 at 7:30 p.m. performance will be ASL interpreted.

ABOUT SASHA GERRITSON, DIRECTOR

Sasha Gerritson is an opera and musical theater stage director who directs shows for many local and regional companies. Most recently having directed the critically acclaimed Music Theater Works’ production of Carousel, in addition to previous Music Theater Works’ shows Guys & Dolls, Brigadoon and Irving Berlin's White Christmas, she is proud to return for West Side Story. Known for her expertise in the standard repertoire, Gerritson is also a highly sought after opera director, having most recently directed Puccini's Manon Lescaut and Il Assassinio Nella Cattedrale for The Opera Festival of Chicago, where she serves as general director. In addition to her work as a stage director, Gerritson is a choral conductor and serves as the director of Music Ministries for the Park Ridge Community Church. Previous work as a choral conductor included positions with the Chicago Children's Choir and Merit School of Music. Gerritson is a proud board member of Music Theater Works, in addition to The Goodman Theatre, the Brookfield Zoo and DePaul University, where she serves as vice chair of the Board of Trustees. She served as the opera and music theatre director of Northeastern Illinois University from 2010-2022, has directed for Musica Nelle Marche (Urbino, Italy), Opera Piccola, DePaul University, the Cherub Music Theatre program for Northwestern University, in addition to various other summer programs in the area. She lives in Glenview with her husband Eugene Jarvis and their two sons, Nate and Josh. 

ABOUT CLAYTON CROSS, CO-CHOREOGRAPHER

Clayton Cross works nationwide as a choreographer, performer and dance instructor. Cross was most recently in the ensemble and dance captain of Rock Of Ages with Mercury Theater Chicago, with Drury Lane in the ensemble and dance captain in Grease as well as in the ensemble in Evita. He most recently choreographed Brigadoon for Music Theater Works. He was last seen on the Music Theater Works stage as “Scuttle” in Disney’s The Little Mermaid, in the ensemble of Mamma Mia! and as choreographer for Irving Berlin’s White Christmas and Billy Elliot The Musical. He was choreographer in residence with Music Theater Works under the direction of Rudy Hogenmiller for seven seasons where he choreographed and/or performed in Joseph and the Amazing Technicolor Dreamcoat as “Benjamin,” The Hunchback of Notre Dame, How to Succeed in Business Without Really Trying, Into The Woods, Anything Goes as “ensemble,” Pirates of Penzance as “ensemble,” Peter Pan as “Nana/Croc,” Gypsy as “Tulsa,” Mame as “ensemble,” Candide, Guys and Dolls, My Fair Lady, Die Fledermaus, The Fantasticks as “Mute,” Damn Yankees as “Eddie” and in A Chorus Line as “Greg” with Porchlight Music Theatre. Cross also performed at Marriott Theatre in La Cage Aux Follies as “Mercedes.” He is an instructor and choreographer for M.A. Dance Nation, a Texas based traveling convention circuit, where he has been choreographing, teaching and judging since 1999. Cross has five times been a consultant and contributed choreography for the Capital One Bowl’s “All American Halftime Show.” Throughout his 25 year career as a dancer he has worked with Robert Battle, Fernando Bujones, Sherry Zunker, Paul Taylor and Ann Reinking. Cross’s television credits include “Every Dancer Has a Story,” a PBS special on the River North Chicago Dance Company, where he was a company member for 10 seasons and toured nationally and internationally. He is originally from Midland, Texas where he received his early training from La Petite Dance Co., Coleman Academy and the Midland Community Theatre as a member of the Pickwick Players. He holds a double B.F.A. in Ballet and Modern Dance from Texas Christian University.

ABOUT ISA RAMIREZ, CO-CHOREOGRAPHER

Isa Ramirez is thrilled to be coming back to Music Theater Works as a choreographer -- especially for this show. Music Theater Works credits include: Brigadoon as “Maggie Anderson/ensemble,” Irving Berlin’s White Christmas as “ensemble” and Zorro! The Musical as “ensemble.” Ramirez has also had the pleasure of performing in other regional theaters such as: Oklahoma as “Ado Annie” and “Gertie,” West Side Story as “Rosalia” and “Margarita,” and Matilda as “ensemble/U/S acrobat” at the Fireside Theater and In The Heights as “ensemble/2nd U/S Daniela” at the Marriott Theater. When she isn't performing, she is teaching dance at Gus Giordano Dance School and dancing with their Legacy Dance Company. West Side Story is a story that is very near and dear to her heart, family and heritage.

ABOUT LINDA MADONIA, MUSIC DIRECTOR

Linda Madonia is thrilled to be back at Music Theater Works for West Side Story where she has previously music directed CATS, Guys and Dolls, Shrek, Mamma Mia and Camelot. Other recent projects include Jersey Boys, Rock of Ages and Sister Act at Mercury Theater Chicago. Anything Goes, Cabaret and A Chorus Line at Porchlight Music Theatre. Madonia also serves as the contractor for the Chicago Federation of Musicians for Porchlight Music Theatre and Music Theater Works. She is the vocal coach for the master’s degree program in Music Theatre Pedagogy at Carthage College and owns American Eagle Productions, which has been at the forefront of Theatre Education in the Chicago area for the past 35 years.

ABOUT MUSIC THEATER WORKS

Music Theater Works is a resident professional not-for-profit music theater founded in

1980. During its 45-year history it has presented more than 150 productions and intimate presentations. Music Theater Works is a professional theater company whose mission is to present works for the musical stage including historic repertoire, revitalizing the Golden Age of Broadway and earlier works, celebrating the Great American Songbook and introducing modern classics. 

Invictus Theatre Company, whose summer 2025 production of the two-part epic, ANGELS IN AMERICA, was named top Chicago theatre production of the year and "the best non-Equity production here since before the pandemic" by the CHICAGO TRIBUNE's Chris Jones, has announced programming for its 2026 season. All performances will be at the Windy City Playhouse, 3014 W. Irving Park Road. Consistent with Jones's assertion (in his review of the company's THE HOUSE THAT WILL NOT STAND) that Invictus "is cementing a reputation as the home of epic American drama," the company will continue its tradition of presenting classic and contemporary American plays along with innovative stagings of Shakespeare. Founding Artistic Director Charles Askenaizer announced the company's 2026 season today, which will open with Tennessee Williams's 1955 drama, CAT ON A HOT TIN ROOF. Askenaizer will direct the play, which will open to the press on February 24, 2026; following previews from February 17. It will play through March 29.
 
Following its success with Tony Kushner's ANGELS IN AMERICA, Invictus will again tap into Kushner's canon with CAROLINE, OR CHANGE – the company's first musical. Kushner penned both book and lyrics for the semi-autobiographical musical. The story was inspired by his childhood growing up as a young Jewish boy in Lake Charles, Louisiana, and his interactions with the Black woman who worked as the family's maid. The music is by Jeanine Tesori, a Tony Award winner for her scores for KIMBERLY AKIMBO and FUN HOME, and a nominee for her scores for CAROLINE, OR CHANGE and THOROUGHLY MODERN MILLIE. CAROLINE, OR CHANGE will open to the press on June 1, 2026, following previews from May 26; and will play through July 10. The show will be directed by frequent Invictus collaborator, Aaron Reese Boseman.  Creative team to be named. Invictus's production of CAROLINE, OR CHANGE is licensed by Music Theatre International.
 
In August, Askenaizer will direct Paula Vogel's 2015 drama INDECENT, which recounts the controversy surrounding the 1923 play GOD OF VENGEANCE by Sholem Asch. When GOD OF VENGANCE was produced on Broadway, its producer and cast were arrested and convicted on the grounds of obscenity because the play depicted a Lesbian relationship with an onstage kiss between two women. NEWSDAY's Linda Winer said of INDECENT's 2017 Broadway production, "Has there ever been anything quite like INDECENT, a play that touches — I mean deeply touches — so much rich emotion about history and the theater, anti-Semitism, homophobia, censorship, world wars, red-baiting and, oh, yes, joyful human passion?..." INDECENT will open to the press on August 17, following previews from August 14, and will play through September 22.
 
The 2026 season will close with Shakespeare's ever-popular story of young love thwarted by hate and prejudice, ROMEO AND JULIET, which will be directed by Louis Contey, a Jeff Award winning Chicago theater veteran. The tragedy, which has enjoyed numerous film adaptations and was updated for the musical WEST SIDE STORY, will open on November 2, 2026, following previews from October 30. It will play through December 13. 

Tickets and season subscriptions for the 2026 season are on sale now at www.invictustheatreco.com.

West Side Story is just as exciting, vibrant, and moving today as it was when it was first created in 1957. Filled with timeless songs and choreographed dance numbers that are as original as they are visually stunning, West Side Story continues to delight audiences old and new, and Lyric Opera House’s latest offering of this musical masterpiece checks all the boxes. Conceived by Jerome Robbins with lyrics by Stephen Sondheim, music by Leonard Bernstein and book by Arthur Laurents, West Side Story is considered to be one of the best musicals ever created. One cannot help but be pulled in by the production’s engaging story, astounding vocal performances and original dance scenes that incorporate a fusion of ballet and modern dance.

Inspired by William Shakespeare’s tragic love story, Romeo and Juliet, West Side Story turns the feuding Monague and Capulet families and love-stricken teens, Romeo and Juliet, into a New York setting that has the white kid Jets fighting to keep the Puerto Rican Sharks out of their neighborhood. Romeo is replaced by Tony, the former leader of the Jets and Juliet becomes Maria, the sister of Sharks leader Bernardo. When Tony and Maria fall hopelessly in love at a neighborhood dance social, the two are immediately thrust beyond the racial barrier that has caused hate between the rivaling gangs and breaking free from their past will be nothing less than challenging.

The cast of West Side Story. Photo by Todd Rosenberg.

In Lyric Opera House’s production of West Side Story we are met with stunning sets designed by Peter J. Davison that take us to a New York City neighborhood that gives us the feel of the musical’s late 1950’s era while implementing many touches of today’s world, as evidenced by the Bad Bunny poster hung on the wall of Maria’s room. Costume Designer Jessica Jahn also sprinkled in a mix of yesterday and today combining the white t-shirts, cuffed jeans, Converse All-Stars and flashy dresses that represented the late 1950’s with today’s skinny jeans, striped basketball pants and hairstyles that include shaved line designs and manbuns. I found the blended sets and costumes a bit confusing at first, but it does work. Perhaps the modern-esque makeover is done to remind theatergoers that racism didn’t just take place way back when but is also present in today’s world and that there is still plenty of work to do.

Brett Thiele as Riff and Yurel Echezarreta as Bernardo in West Side Story at Lyric Opera House. Photo by Todd Rosenberg.

This production has a special cast. Audience members are treated to sensational vocal performances by Ryan McCartan as Tony, Kanisha Feliciano as Maria. Both McCartan and Feliciana have show-stopping moments during their vocal performances and their chemistry feels natural. Lyric hits the jackpot with both and McCartan and Feliciano’s performances. While McCartan’s beautiful rendering of “Maria” is vocally superb and heartfelt, Feliciano’s captivating performance of “Somewhere” also delivers in grand fashion. Both have tremendous range and seem to effortlessly take their voices wherever they need to go.

Maria!
I've just met a girl named Maria,
And suddenly that name
Will never be the same to me
Maria!
I've just kissed a girl named Maria,
And suddenly I found
How wonderful a sound can be
Maria!
Say it loud and there's music playing,
Say it soft and it's almost like praying

Amanda Castro thoroughly embodies the strength of Anita, Bernardo’s girlfriend, and wows us with both her voice and her skilled dancing ability, particularly when leading the Shark Girls in a colorful rendition of “America”. Brett Reile as Jets leader Riff and Yurel Echezarreta as Bernardo also play key roles in making this production as great as it is. Reile’s Riff is edgy and street tough perfectly personifying the “When you’re a Jet you’re a Jet all the way” modus operandi, while Echezarreta gives us a Bernardo who can go toe-to-toe with anyone. Of course, the ensemble is pivotal to the show’s success and this ensemble is just incredible and awes the crowd in one huge dance number after another.

Conducted by James Lowe and directed by Francesca Zambello, Lyric gives us a fresh take on the classic smash hit that audiences have been enjoying for the 60-plus years. West Side Story is a production for everyone. Its message of coming together still resonates today, and its fulgurous dance numbers and song performances will never become dated.

This brilliant production of West Side Story is being performed at the Lyric Opera House (20 N. Wacker Drive, Chicago) through June 25^th. The running time is 2 hours and 30 minutes, which includes one intermission. For tickets and/or more show information, click here.

Highly recommended.

I’m not sure how long this honeymoon feeling of returning to life as a theatergoer will last. That butterflies-in-the-belly, waiting-for-the-lights-to-go-out feeling just before the show starts. Right now, I tell myself that it’ll last forever. That I’ll never take for granted what I was—and all of you lovers of a good show done well were—lucky enough to enjoy until the past two years. That I’ll watch every show like it could be my last. Who knows if this feeling will last? I hope it does.

But I’ll tell you what…the cast and crew of Marriott Theatre’s West Side Story are putting on a production that shows that us theatergoers weren’t the only ones itching to get back to it, putting on a show like it could be their last.

That the production is Leonard Bernstein’s classic was a great choice. Its content, while still thought-provoking and fitting for our fractured world all these decades later, is also well-known, proven, comforting. We know what to expect, the cast and crew know what to do, and then we all hope it goes according to script.

It does here. The two leads, Lauren Maria Medina as Maria and Jake David Smith as Tony, are both very talented vocalists, comfortable with the challenging melodies Bernstein gives them. They play their parts, they sing their songs, they live their lives, as the Maria and Tony we as the audience want.

The roles of Anita and Bernardo, of course, won best supporting Oscars for the 1961 film version, and here they are filled by Vanessa Aurora Sierra and Gary Cooper. Sierra captured my attention whenever she was onstage, bringing not just the passion the role calls for but a real joy, too. Gary Cooper (that name!) brought physicality to Bernardo and the fight scenes, but matched Sierra in having that extra presence, too.

The ensemble—a highlight is the Shark Girls led by Sierra in a rousing, syncopated “America”—pulls off stunning dance numbers and tightly choreographed fight scenes, and does them well. And, like the four actors mentioned above, they give each of them that little something extra, that little bit of joy that just makes this a production to see and enjoy.

Because, like I said, West Side Story can certainly still make us think—still is making me think—socially, about what can be done to make life better. But West Side Story—done so well, now through March 27—also shows us how good life is, how good life can be. We have these beloved songs and characters, and we have such talented people like those in this cast and crew who will give that little bit more to live up to the material, who will play each show like it might be their last, and who, thank goodness, are still here to provide us grateful fans that feeling you get when you’re waiting for the lights to go out and for the show to start.

West Side Story is being performed at Marriott Theatre in Lincolnshire through March 27^th.

I have to admit up front - I am a full-on West Side Story fan girl. I have seen the movie, released in 1961, probably 100 times. I know the plot, the words to every song, the dance moves, and have viscerally felt the teenage angst that is the underlying basis of the plot...for well over 50 years. I credit Leonard Bernstein, Stephen Sondheim and the original writer, Arthur Laurents with kickstarting my love of all things Shakespeare (West Side Story is an updated take on Romeo and Juliet.) I kneel and utter multiple huzzahs to the brilliant Choreographer, Jerome Robbins who, for crying out loud - came up with moves so outrageous and fluid that every dance inspired child of the early 1960’s spent hours learning how to snap their fingers below their knees as they moved stealthily forward while trying to control their rage.

Yes, I am a fan. And as some would say an obsessively, vested fan...I can honestly state that The Lyric Opera of Chicago’s production of West Side Story is spot on. It will not let you down. While it is comforting in its homage to the original Broadway play and subsequent movie, it adds some little idiosyncrasies of its own that makes you nod and realize that yep, this stuff is still going on-500 plus years after Shakespeare conceived of star-crossed lovers and the intolerance of bigotry.
Now, down to the meat of this production.

Mikaela Bennett as Maria, displays the full range of emotions of a young, protected yet curious girl, new to the reality and struggle of leaving her home and trying to break free to embrace her pending adulthood and new life. Ms. Bennett’s vocal range is mesmerizing. She has a clarity to her notes you rarely hear outside of traditional opera. She also personifies the innocence and joie de vivre of a girl stepping forward to become a woman. She is a lovely actress, and her Maria goes deep to the heart.Corey Cott, as Tony steps up into the role that Richard Beymer stamped into our consciousness. He steps up, and over. Realistically, the role written as Tony is kind of light, dialog-wise. But Mr. Cott’s voice is so deceptively amazing, it leaves one almost breathless. The man has mastered the “Devil’s Triangle” of notes. Kudos, Sir. You made us cry.

Amanda Castro as Anita is edgy, punky and truly inhabits a proud Borinquena taking control of her life and love. She has the fricative vocal ability to really emphasize her strength and make you feel that whatever comes out of her mouth should be stamped with an exclamation point!
Manuel Stark Santos as Bernardo, though he doesn’t really have any musical solos-is a presence on stage in and of himself. His big brother slash gang leader is dominating and realistically embodies the macho-ness of Hispanic culture. This is no George Chakiris in brown face...this is an actor who shows us on stage what cultural machismo entails.

Brett Thiele as Riff is more talented, vocally pleasing and better looking than the movie version. He shows us a few more layers into a character that has been generally portrayed as depth-light.

The remainder of the cast is talented and on point in their portrayal as followers to the main characters. All are in of themselves wonderful singers and dancers, and they do this production proud.

The production and stage crew were fluid, efficient and cohesive. I really enjoyed how symbiotic the set changes were. It’s probably one of the more demanding jobs and they did it faultlessly.

Lastly...the orchestra conducted by James Lowe was, as to be expected - stellar. Ladies and gentlemen, you took my breath away.

All in all. I highly recommend The Lyric’s production of West Side Story. For a tragic story, it left me full of joy.

Through June 2nd at Lyric Opera of Chicago.

"Breeze it, Buzz it

Easy does, it

Turn off the juice, boy"

But the juice is not turned off in this keyed up production.

If you are looking for high-energy dance numbers performed with grace and precision, powerful harmonies engulfed in beauty and emotion, a story of tragedy, hope and passion, and, a whole lot of "Cool" - then look no further than "West Side Story", now playing at Drury Lane Theatre in Oakbrook Terrace through March 29^th.

For those of you who do not know the story – a brief synopsis. It’s the early 1960’s in New York where local gang, The Jets, are not taking kindly to the newly populating Puerto Ricans, who now have an outfit of their own – The Sharks, led by "Bernardo". Following along the lines of Shakespeare’s Romeo and Juliet, the two gangs attend a community dance where former Jet leader, "Tony" instantly becomes lovesick with "Bernardo’s" sister, "Maria" who expresses the feeling to be mutual. Hopelessly in love, the two realize they must break past the hate-filled racial barriers set up, and maintained, by others if they are to find happiness together.

Directed by Rachel Rockwell, the production grabs audience members instantly and does not let go from its opening scene where Jets leader by proxy, "Riff", leads his gang in a spirited version of "Jets Song" ("When you’re a Jet, you’re a Jet all the way – from your first cigarette to your last dying day…" you know the words). Each number is choreographed with style and exquisiteness, encompassing the perfect sassiness, aggression or idealism when called upon. While intensity prevails in such numbers as "Dance at the Gym" and "America" we are also taken to dreamlike bliss in "Somewhere" and "One Hand, One Heart".

As talented as the dancing is the singing. Jim DeSelm ("Tony") and Christina Nieves ("Maria") demonstrate operatic vocal range, delivering each note with meticulousness accuracy and command. The two shine throughout the entire production but really leave a lasting impression in their duet, "Tonight". Taking nothing away from the many amazing performers that make up the Jets and Sharks, Michelle Arevena ("Anita") also deserves a special nod. Arevena makes for a highly entertaining "Anita" with her dazzling footwork and gifted vocals.

Jets leader by proxy, "Riff" (Rhett Guter), and head Shark, "Bernardo (Lucas Segovia) lead one of the production’s most memorable scenes as the two gangs engage in a rumble below the highway. Matt Hawkins, who reproduces the choreography, does an extraordinary job in combining ballet and modern dance with street fight moves, turning the stage into a spectacle of fast action, vicious turns and yet, the refinement and poise found in "Swan Lake". The entire cast is a well-oiled machine that take on one stunning scene after another.

"West Side Story" is one highlight after another. This particular production stays true to the essence of the original and is a slam-dunk when it comes to entertainment value. For more information on show times, visitwww.BroadwayInChicago.comor wwwBroadwayWestSideStory.com.