The Most Beautiful Sound I Ever Heard…

West Side Story – Lyric Opera

Back in the 1950’s when newspapers were just beginning to report tragic stories of teenage gangs and turf wars, a new show evolved from these events that would forever change the American Musical. Noteworthy, too, was that this new theatrical form resulted from a collaboration between artistic geniuses Arthur Laurents (book), Leonard Bernstein (score), Jerome Robbins (direction and choreography) and a new kid on the Broadway block named Stephen Sondheim (lyrics). 
Loosely based on Shakespeare’s tragedy, “Romeo and Juliet,” the show was originally considered controversial. It was dark and edgy, characters fought and died and it didn’t have the traditional happy ending found in musical comedies of the day.

Moreover, the show was vocally challenging and featured far more demanding choreography than in most musicals. It was, however, an almost instant hit and won the 1958 Tony Awards for sets and choreography. Since that year, “West Side Story” has become a staple of educational, regional and summer stock theatres, toured the world over and was made into a popular Oscar-winning film. The musical was revived by Laurents in 2009 with a few changes to the original script. Most importantly was Lin-Manuel Miranda’s (“In the Heights,” “Hamilton”) Spanish translations of the lyrics for the songs sung by the Puerto Rican characters, making the production truly multi-cultural and authentic-sounding. 

This stellar version is jaw-dropping, a polished production that will be undoubtedly remembered as the finest of all the Lyric Opera’s musical theatre presentations. We are treated to an awe-inspiring evening of theatre, presented on a grand scale, and featuring a mega-talented cast of astounding performers blessed with amazing vocal and dramatic skills and unbelievable dancing prowess. They give every audience member, young and old, their money’s worth. Fans who know this show by heart won’t be a bit disappointed, and will even find a few new, surprises in the staging of “Officer Krupke,” “I Feel Pretty,” “America” and “Somewhere.” And for those lucky patrons who are discovering this American classic for the first time, it’s truly worthy of the standing ovation it receives nightly. This is a Broadway calibre production, in every way.

First and foremost is Jerome Robbins‘ dazzling choreography, recreated here by Julio Monge, assisted by Olivia Barbieri, and danced with so much passion and precision. The “Prologue,” “Dance at the Gym,” “America,” “The Rumble” and the dream ballet, “Somewhere,” are all breathtaking. Combinations of classical ballet, jazz, Latin, ballroom and other dance styles make each number more exciting than the next. 

Then there’s Bernstein’s gorgeous score, filled with lush, romantic ballads, such as the sublime “Maria,” “Tonight” and “One Hand, One Heart.” The score also features a few novelty numbers of equal opulence, like “I Feel Pretty,” “America” and “Gee, Officer Krupke.” There’s also the 1950’s jazz-infused choreographed numbers in the “Prologue,” “Cool” and “Dance at the Gym.” Audiences will find it difficult to resist tapping their feet or swooning over such musical masterpieces, which is why the recordings of the original production and the film have been award-winning best-sellers; and why these songs can be heard sung by opera, pop and cabaret artists all over the world.

The entire cast is simply exquisite, providing realistic, honest portrayals of characters who all work their way into the hearts of every theatergoer. There are distinguished performances by feisty Amanda Castro as Anita, captivating Mikaela Bennett as Maria and comely Corey Cott as Tony. Both actresses offer superstar vocal power. Ms. Castro’s Anita stands out as the requisite Latin spitfire, but it’s her effortlessly energetic dancing prowess that really wows the audience. Ms. Bennett is the personification of beauty, innocence and optimism, sporting a crystal clear soprano and perfect enunciation. Corey Cott’s Tony is a good-looking, All American young man with a positive outlook. Vocally commanding, Cott makes his solos, “Something’s Coming” and “Maria,” as engaging as ever seen and heard. He doesn’t simply sing; he creates musical monologues with these classics. 

The entire cast is perfection. Adam Soniak’s Action is, true to his character’s name, constantly in motion, exploding with uncontrollable anger. Brett Thiele’s handsome, macho gang leader, Riff, is a gang leader who truly cares for the welfare of his street family. Manuel Stark Santos’ striking Bernardo, Taylor Simmon’s likable A-Rab, young Jarred Manista’s earnest Baby John, Alexa Magro’s empathetic Anybodys and Kyra Sorce’s feminist Graziella are just a few actors among a cast where everyone stands out.

So much credit must be heaped upon Francesca Zambello for guiding this gifted ensemble of triple threats to such brilliance. Staged against Peter J. Davison’s grandiose scenic design, emotionally lit by Mark McCullough and costumed with a knowing nod to contemporary couture, this production is also a technical masterpiece. Add to all of this, some superb fight choreography by Chicago’s own Nick Sandys, expert musical guidance provided by Chorus Master, Michael Black and the unbelievable sound from the Lyric’s 40-piece pit orchestra, thanks to Conductor James Lowe, and you have a hit show that is a must-see. 

This splendid production is a remarkable, collaborative achievement, only playing through early June. The presentation deserves all the enthusiastic applause and shouts of “Bravo” it receives. Just to hear Bernstein’s beautiful score played with such passion by a full orchestra, and to see a company of enthusiastic, talented young professionals acting, singing and dancing their hearts out, makes a trip to Chicago’s jewel on North Wacker well worthwhile. This production is, indeed, transformational, life-changing and revelatory. Please, do not miss this one! 

Highly Recommended

Reviewed by Colin Douglas

Presented May 4-June 2 by the Lyric Opera, 20 N. Wacker Drive, Chicago.

Tickets may be purchased in person at the Lyric box office, by calling 312-827-5600 or by going to www.lyricopera.org/wss.

Additional information regarding this and other Chicago area productions is available at www.theatreinchicago.com