The Muny continues its 105th season with a lively and emotionally charged production of West Side Story that captivates audiences as it spirals from hope to the sometimes-tragic consequences of following your heart. The production, which adheres to the original direction and choreography of Jerome Robbins (reproduced by director Rob Ruggiero and choreographer Parker Esse), takes audiences on an emotionally satisfying ride filled with moving songs, electrifying dances and the elation and pains of young love.
Loosely based on Shakespeare’s Romeo and Juliet, the musical chronicles the brief relationship between Tony, an American teen of Polish descent living in New York’s rough West Side, and Maria, who recently moved to the city from Puerto Rico. Tony is one of the leaders of the Jets, a well-established white gang; Maria’s brother Bernardo leads the Sharks, a newer Puerto Rican gang. Despite the rivalry, Tony and Maria meet at a dance and are immediately besotted with each other, which only heightens the tension around the increasingly violent conflict between the gangs. Unfortunately, this love story doesn’t end happily ever after; perhaps surprisingly, the tragedy is essential to the story’s enduring appeal.
Christian Douglas and Kanisha Feliciano are enchanting as the star-crossed lovers, creating chemistry that easily reads to the back of the house. Their voices are finely tuned, packing the duets “Tonight” and “One Hand, One Heart” with emotion and melody, while standing out individually. Jerusha Cavazos mesmerizes as the fiery Anita; impossible to ignore, she’s wise beyond her years. Her duet with Feliciano, “A Boy Like That / I Have a Love,” genuinely touched my heart, bringing tears to my eyes. Yurel Echezarreta and Kyle Coffman are effectively brash and overconfident as Bernardo and Riff, respectively, with a youthful, raw quality to their vocals and actions that carries through to the gang members. Ken Page is the voice of reason as Doc, though even his gravitas cannot sway the impetuous teens.
The songs, particularly the ensemble numbers, are tight and precise with incredibly sharp, well-executed choreography that takes the show to the next level. “The Dance at the Gym,” “Cool” and “Hey Officer Krupke” are filled with modern moves and athletic leaps and jumps while “America” and “I Feel Pretty” delight with pleasing melodies, crisp footwork and vivacious turns and swirls. In these moments, the musical’s boundless energy and chaotic emotions easily jump from the stage to the audience, creating a connection that is at once cathartic and lasting. The story is filled with tragedy, but the musical numbers burst with vibrant urgency and a thirst for life.
With a subtext of immigration and strong racist and classist undertones, West Side Story succeeds best by leaning into the divisiveness and tension present in the poor, working class neighborhood. The characters focus on the surface conflicts of disparate people, but the audience leaves with a ray of hope that glimmers through the tears and heartbreak. If you’ve never seen the show live, consider putting the Muny on this week’s To Do list — this production is top-notch, demonstrating why the musical remains an enduring favorite.
West Side Story’s original direction and choreography is by Jerome Robbins, reproduced by Parker Esse. Stage direction by Rob Ruggiero. Music is by Leonard Bernstein; lyrics by Stephen Sondheim and book is by Arthur Laurents. Presented by the Muny (1 Theatre Dr., 314-361-1900, muny.org) through July 21. Performances begin at 8:15 p.m. and tickets are $19 to $120.
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