Cessy Newmon
Alhambra’s current production of WEST SIDE STORY touts one of the best casts I’ve seen on their stage, and it rivals a few of the touring companies I’ve seen recently. It is a very moving production, and while there is nothing that youngsters cannot see, it is a tragedy, so best not seen by those who have trouble dealing with characters being killed onstage.
Based on the Shakespearian tragedy Romeo and Juliet, this 1954 musical takes the original setting and transports it to New York City. It is a time when racial rivalries and immigration are creating rifts in communities, which is as relevant throughout the years as it was then. It also uses gangs to exacerbate these rivalries, pitting the Jets, the dominant white groups comprised of Italian, Polish, and other descents against the Sharks, the more recent immigrants from Puerto Rico.
The concept came from famed director/choreographer Jerome Robbins, who originally saw it as a rivalry between Catholics and Jews. Over many years and iterations, it became a collaboration between Arthur Laurents (book), Leonard Bernstein (music), and it was the Broadway debut of lyricist Stephen Sondheim. While the 1957 Broadway production garnered nominations and a couple of Tony awards, it was the 1961 movie that swept the Oscars.
WEST SIDE STORY has a bit of an unusual opening. Unlike most shows, there’s no dialogue nor singing. Instead, we immediately see the turf war presented in dance. And this troupe is stacked with solid triple-threats (singer/dancer/actors). In fact, the entire show has much of the storyline presented as dance, such as “Dance at the Gym”, where our two lovers from different sides of the rift first meet and fall in love.
Our two lovers are played by Brayden Schilling (Tony) and Lauren Henriques (Maria). Mr. Schilling has a voice like butter, and it melts you as he sings “Maria”. Ms. Henriques is adorable, feisty, and hits the high notes in the ozone layer. They make a lovely duet throughout the show.
WEST SIDE STORY is very much an ensemble show, with most everyone having a cameo at some point. I do have to give the turf war to the Jets in the show. Led by Spencer Bethers as Riff, the energy was through the roof, and the entire team was spot on in character, vocals, and choreography. I’m not saying that the Sharks, led by Marco Puente as Bernardo (Maria’s brother), are a let down, because it is a close war. There was just an “it” factor. Consider that in 1957, this show was written with an adrogenous role named Anybodys, and Maya Galipeau was a standout, helping the Jets over the top.
I would be remiss if I did not mention one of the more famed roles in the show, Anita (Nayda Marie Baez). Ms. Baez is a nurturing friend to Maria. Yet she is sharp and bossy with Bernardo and lets loose when with her friends. She traverses the various relationships through the show beautifully.
I would also be remiss if I did not mention that WEST SIDE STORY marks Ken Uibel’s (Doc) 100th show at just the Alhambra, as well as his retirement from the stage.
Erick Ariel Sureda outdid himself with the choreography, and the talent onstage showcased his efforts. The set was kept very simple for the show, which is necessary for the numerous scene changes. Costumes seemed to change with every scene, and it was amazing how quickly the actors exited one place and entered in another outfit elsewhere.
WEST SIDE STORY runs about 2.5 hours at the Alhambra Theatre, 12000 Beach Blvd., Feb 20th-Mar 30th, 2025. Ticket and season ticket prices vary based on show and seating. For reservations and information, go to alhambrajax.com or call (904) 641-1212.
Cessy Newmon
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