The new revival of “West Side Story” is so much more exciting, more powerful and engaging than the previous Lyric Opera of Chicago’s bland production of 2019. This time, Lyric has restaged the musical into a mesmerizing presentation that fully lives up to expectations.
Although the show opened on Broadway in 1957, it not only continues to captivate but it still resonates with us today. That it doesn’t feel dated could be due to the fact that human nature, as Shakespeare proved, doesn’t change. His “Romeo and Juliet” was beloved by audiences of his time, and the story of the two star-crossed lovers continues to appeal as well to audiences of our own time.
Another reason the romantic musical seems fresh is due to its depiction of the violence that can occur with differences in backgrounds, values, and language. This seems to be an ongoing problem. When the show opened more than six decades ago, the brutal clash between the gangs was shocking. While it may not be as shocking now, the violence onstage, in films, and on our streets may have many wondering whether it’s possible for love to conquer hate.
It’s not just the dramatic conflict between the rival gangs, the Jets and the Sharks, though, that makes the show such an enthralling work. After all, it was created by one of the greatest collaborative teams in American musical history. With a moving storyline by Arthur Laurents, Leonard Bernstein’s fantastic music, Stephen Sondheim’s wonderful lyrics, and Jerome Robbins’s extraordinary choreography, the musical had every reason to be formidable.
Moreover, this revival—a coproduction of the Lyric Opera of Chicago, Houston Grand Opera, and the Glimmerglass Festival—is as good as a show gets because of the exceptional performances, the flawless direction by Francesca Zambello, and the talents of the superb creative team.
The set design by Peter J. Davison makes for bold and stunning imagery. As the curtain rises on the Lyric stage, we see a gritty urban scene of graffiti splattered on granite walls, wire fencing enclosures that tower over a city street, and outlines of gray factories in the distance. It’s a very effective backdrop, especially when it unfolds to reveal the inside of Doc’s Drug Store, Maria’s apartment, and the fire-escape balcony where Maria and Tony meet.
Furthermore, to increase the mood and atmosphere of the ongoing conflict, lighting designer Mark McCullough provides a dark-colored background with a horizon emblazoned with a fiery red that suggests the escalating fury and tragedy to come.
Yet another reason for the power of this classic is in its performances. Because “West Side Story” is a combination of intense drama, a terrific musical score, and exuberant dance numbers, the show requires triple-threat actors who can sing, act, and dance—a combination not easily found. Fortunately, this production overflows with a great ensemble of players more than capable of pulling off convincing characterizations.
Ryan McCartan, in his Lyric debut, is a commanding figure as Tony. The compelling, velvety-voiced actor delivers such a breathtaking rendition of “Maria” that the audience gave him a long and very loud applause that almost stopped the show.
Kanisha Feliciano, also in a Lyric debut, comes through with a sweet innocence that makes her endearing as Maria. When she and McCartan come together to sing an impassioned “Tonight,” their voices blend so beautifully that the chemistry between them is palpable.
In addition, there were other highlight performances. Amanda Castro is exciting as the hot-blooded Anita who pulls out all the sexy stops with her exhilarating “America.” Brett Thiele as Riff (the leader of the Jets) and Yurel Echezarreta as Bernardo (the leader of the Sharks) stand out, especially in the fight scene where they face each other with eyes flashing and menacing switchblades slicing through the air.
If all that isn’t enough to make this an impressive production, Jerome Robbins’s high-octane choreography, reproduced by Joshua Bergasse, is unforgettable. Here, we follow the ferocity and fury of the gang members as the beat of the music and their vigorous dancing heightens the intensity of the conflict that divides the two groups.
Last, but definitely not least, is conductor James Lowe and the Lyric orchestra giving the glorious production a perfect-pitch musical rendition.
This is probably the best production of “West Side Story” one is likely to see for a very long time. Don’t miss it!
