Displaying items by tag: West Side Story

Some musicals carry such cultural weight that every new production feels like a referendum on how well a company can honor the original while making it feel alive again. West Side Story is one of those titles - a towering achievement in American musical theatre, a work whose emotional force and artistic innovation have endured for generations. Music Theater Works has now taken on this iconic musical at the North Shore Center for the Performing Arts in Skokie, and the result is a vibrant, beautifully staged production that captures both the drive and the aching humanity at the heart of the piece.

West Side Story is a modern retelling of Shakespeare’s Romeo and Juliet, but instead of two feuding families, it confronts the racial and cultural fault lines running through 1950s New York City. The Jets, a group of white American teenagers clinging to their sense of territory, clash with the Sharks, a Puerto Rican gang fighting for dignity, safety, and the right to belong in a city that continually pushes them to the margins. Their conflict is not just about turf; it is fueled by fear, resentment, and the prejudice that shapes how each group sees the other. When Tony, a former Jet trying to build a life beyond the violence, meets Maria, the sister of Sharks leader Bernardo, their connection is immediate and transformative. What begins as a spark of hope quickly becomes a dangerous love story unfolding against a backdrop of cultural tension, territorial pride, and escalating hostility.

As the feud intensifies, the young couple’s attempts to carve out a future together collide with the realities of their world. The rumble between the Jets and Sharks sets off a tragic chain of events, leaving Tony and Maria grasping for peace in a city determined to deny it. The musical’s final moments - heartbreaking, inevitable, and deeply human - underscore the cost of hatred and the fragile possibility of reconciliation.

The production also underscores one of the musical’s most enduring truths: that the idealism Tony and Maria cling to is constantly at war with the harsher realities shaping their world.

The creative pedigree behind West Side Story remains one of the most extraordinary collaborations in theatre history. Leonard Bernstein’s sweeping, genre‑blending score, Stephen Sondheim’s razor‑sharp lyrics, Arthur Laurents’ emotionally charged book, and Jerome Robbins’ groundbreaking choreography combine to create a work that is as musically thrilling as it is dramatically devastating. Bernstein’s score - among the most challenging he ever composed and one he found deeply artistically satisfying - remains one of his most defining artistic accomplishments. It is a piece that demands precision, passion, and a deep understanding of its themes, and Music Theater Works rises to that challenge with clarity and heart.

The company’s production is superbly realized, delivering crisp choreography, rich orchestral color, and performances that honor the emotional stakes of the story. It is a staging that respects the legacy of West Side Story while making the experience feel immediate and alive for today’s audiences.

(L to R) Pauleth Jauregui as Anita and Isabella Ruano as Maria in WEST SIDE STORY from Music Theater Works.

The cast is terrific, but it is Isabella Ruano as Maria and Pauleth Jauregui as Anita who anchor the production, grounding it with performances that feel both lived‑in and emotionally urgent. Ruano’s Maria is luminous from her first entrance, her voice soaring through “Tonight” with a clearness and warmth that make the character’s hope feel newly electric. Jauregui matches her beat for beat, delivering an Anita rich with fire, humor, and heartbreak; her vibrant, sharply etched “America” is one of the evening’s defining moments. Together, they anchor the musical’s emotional arc with a confidence that elevates every scene they touch.

Offering a warm, earnest Tony is Luke Nowakowski, his ringing tenor in “Maria” and sincerity in “Something’s Coming” providing a steady, heartfelt counterpoint to the show’s rising tensions. Emmanuel Ramirez’s Bernardo contributes a controlled intensity, shaping the Sharks’ dynamic with quiet authority, while Kameron Rojas Schueneman’s Chino adds thoughtful, understated work that lands effectively in the final scenes.

Connor Ripperger brings a commanding presence as Riff, sharpening the Jets’ energy with restless physicality and crisp musical attack. His leadership in “Cool” gives the number a taut, combustible edge that sets the tone for the gang’s world.

If there’s one aspect that doesn’t land quite as strongly in this otherwise beautifully executed production, it’s the chemistry between Tony and Maria. While both Nowakowski and Ruano act with sincerity and sing with impressive range, clarity, and confidence, their scenes together occasionally feel more musically aligned than emotionally connected. The relationship lands, but at times you want a deeper spark between them - a stronger sense of shared urgency to match the vocal strength they each bring individually. And because this performance comes so early in the run, it’s easy to imagine that their connection will deepen as the actors settle further into each other’s rhythms.

That note aside, the principal cast delivers a production driven by strong voices and sharply drawn character work, with Ruano and Jauregui leading the charge.

The wider ensemble gives the production its pulse, moving with a clarity and drive that continually pushes the story forward, and Eric Desnoyers brings a welcome touch of humor as Officer Krupke, landing sharp comedic beats that lighten the show’s more chaotic moments. But above all, it is the wide-ranging, contemporary ballet-infused dance sequences that catch fire - those large, kinetic passages where movement becomes the show’s primary language. Much of the choreography folds fighting into dance, turning confrontation into something almost balletic: graceful, sculpted, and charged with tension. The company navigates these moments with remarkable control, letting the beauty of the movement coexist with the danger underneath.

In these sequences, the ensemble moves with a shared purpose, letting the choreography shape the conflict and momentum without overstating it. Their control and cohesion give the dance its impact, turning each major passage into a clear highlight that quietly but confidently lifts the production.

(L to R) Luke Nowakowski and Isabella Ruano in WEST SIDE STORY from Music Theater Works at North Shore Center for the Performing Arts.

Though the stage musical has always kept its original song order - and I understand the desire to preserve that structure - I’ve long hoped to see a production take a cue from the film in one particular moment. In the movie, “America” becomes a spirited debate between the Shark men and women, with Bernardo and Anita sparring over their hopes and frustrations about life in the United States. That dynamic not only brings Bernardo further into focus and deepens his relationship with Anita, it also gives the number a fuller, more energized sweep by letting a larger group of dancers drive its rhythm. The stage version’s women‑only arrangement works, but the film’s version has always struck me as the more dramatically rich and character‑revealing choice.

Beyond the choreography, the production’s artistic leadership is equally strong. The creative team brings seamless cohesion to this production. Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.Director Sasha Gerritson guides the story with clarity and emotional focus, while co-choreographers Clayton Cross and Isa Ramirez deliver movement that honors the show’s iconic style with a fresh, contemporary lift. Linda Madonia’s musical direction keeps Bernstein’s score warm, tight, and expressive, supported by Justin Kono’s precise, sensitive conducting. The orchestra plays Bernstein’s score with crisp articulation and a full, glowing sound, letting the music’s rhythmic bite and lyrical sweep land with real impact. David Serrano’s Spanish translation adds welcome authenticity, with Spanish subtitles projected overhead during musical numbers that make the language accessible to both native speakers and those following along. The production’s most charged moments are shaped with care and impact through intimacy and violence choreography crafted by Nick Sandys.

Visually, the production is exceptionally well crafted. Bob Knuth’s scenic design and Cecilia Chan’s props work ground the story firmly in its era, giving the stage a lived-in authenticity that supports the drama without overwhelming it. The printed scenic drops hanging above and along the sides and rear of the stage - with their black windows, fire escapes, and bold red backgrounds - add a distinctive graphic layer, subtly echoing the stark lines and verticality of the 1961 movie poster designed by Joe Caroff. It is a smart visual nod that connects the production to its cinematic legacy without feeling derivative, instead offering a familiar, poster-like clarity that frames the action with understated style.

Bob Kuhn’s costumes and Kristen Brinati’s wardrobe leadership capture the period with clean, thoughtful detail, while Alice Salazar and Melanie Saso’s hair, wig, and makeup design add the finishing touches that make the Jets and Sharks feel fully appreciated. Andrew Meyers’ lighting brings sharp contrast and emotional texture to the stage, and Stephanie Farina’s sound design keeps the vocals and orchestra balanced and clear. This talented team builds an environment that feels true to the time, the place, and the heartbeat of West Side Story.

Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. Taken together, these elements give the production a unity that extends well beyond its individual performances. The design work, staging choices, and musical precision all reinforce one another, creating a West Side Story that feels both faithful to its roots and freshly energized for a new audience. It’s a staging that understands the show’s emotional architecture and honors it with care. A staging this confident proves just how alive West Side Story can still feel.

Music Theater Works brings all of this together in a final product that feels both classic and newly urgent. Their West Side Story is a richly performed, thoughtfully designed, and confidently led production that honors the legacy of this landmark musical while giving it the vitality it deserves. Audiences can experience this outstanding staging August 13–30, 2026, and full details - including tickets - are available at www.musictheaterworks.com.

Recommended.

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.