'West Side Story' review: A classic returns to The Encore stage, but struggles to fully connect

Courtesy of Michele Anliker photography

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The Encore Musical Theatre Company opened its latest production of “West Side Story” on Thursday night, and audiences were clearly on the show’s wavelength: rising to their feet in support of director Michael Berry’s vision. Working off an original conception by Jerome Robbins, Berry aims to breathe new life into a landmark musical that has held a revered place in the American theatrical canon. Notably, the production also marked the Broadway debut of the late Stephen Sondheim, who penned the lyrics to Leonard Bernstein’s soaring score.

Since its groundbreaking 1957 debut, “West Side Story” has cemented its legacy as one of the most emotionally potent works in American theatre. Spielberg’s 2021 remake brought the story’s themes of systemic racism, xenophobia, and cultural divide to a new generation with visual grandeur. It makes sense that The Encore would revisit the piece, especially given its continued relevance. Sadly, the conflicts that drive the musical—white versus Latino, native versus immigrant—remain all too familiar in our divided world. It’s also hard to believe The Encore last staged the musical in 2018; so much has changed, and yet, the story remains timeless.

2018 feels like a lifetime ago, back when the company performed in a smaller venue. The Encore’s former, more intimate space lent itself to a visceral, sweat-drenched urgency that’s harder to replicate in their newer, larger theater. That original proximity made us feel like we were part of the action, not just spectators. With The Encore now performing in a larger, more technically equipped space, there’s understandably a different dynamic. And while the move was an important and exciting step forward for the company, it does come with that feeling of emotional distance that subtly permeates this production.

Some of that removal comes from the staging choices, like placing the orchestra behind the stage. While the musicians, under the direction of R. MacKenzie Lewis, do a fine job bringing Bernstein’s sweeping compositions to life, not being able to see them takes away some of the magic. In an era when many productions, from “Hadestown” to “Six,” embrace the visibility of their musicians as part of the theatrical experience, tucking them out of sight feels like a missed opportunity for connection. Without them in view, something feels just a little less alive.

Still, the narrative power of “West Side Story” is as strong as ever. Watching the predominantly white Jets provoke and clash with the Puerto Rican Sharks feels heartbreakingly current. Set in the Upper West Side during the 1950s, the show reflects the real-life tensions of post–urban renewal New York City, when communities were displaced and racial tensions simmered just below the surface. The show opens on the brink of war, with Ian Rubin lending Riff, leader of the Jets, a wiry, scrappy energy, and Cristian Rodriguez giving Bernardo, head of the Sharks, a cool and confident edge. As Anita, Mariangeli Collado is outstanding—fiercely charismatic, emotionally potent, and utterly commanding in “A Boy Like That.” She steals every scene she’s in and brings heart, fire, and voice to the role.

At the story’s core, of course, is the ill-fated romance between Tony and Maria. Conor Jordan reprises his role as Tony from the 2018 production, and Daniela Rodriguez Del Bosque is terrific as Maria—sweet, wide-eyed, and grounded in emotional truth. Jordan is a capable and sincere performer, but I found myself wondering what a younger Tony might have brought to the role, especially opposite Del Bosque. Still, their chemistry carries weight, and their scenes together pulse with romantic urgency.

Shane Cinal’s scenic design goes for a minimalist, modern look, think skatepark rather than 1950s New York, with chain-link fences and sliding units standing in for various locales. The flexibility gives actors plenty of room to move, but some scenes, like those set inside Doc’s drugstore, could’ve used more visual definition. Without clear markers, it becomes harder for the audience to track where we are, and that contributes to the overall sense of detachment.

Joseph Walls’ lighting design, which incorporates dynamic LED elements, adds visual flair throughout the production, while Rossella Human’s costumes bring texture and personality to each character. These design choices give the production a modern sheen without completely abandoning the show’s period roots.

Some musical numbers pop more than others. “America” is a highlight, thanks in large part to Collado’s spirited performance and Deanna Aguinaga-Whyte’s faithful choreography, which draws directly from Jerome Robbins’ original movement. On the other hand, “Gee, Officer Krupke,” usually a crowd-pleasing Act II stunner, feels slightly underpowered despite the ensemble’s commitment and agility. It’s a tricky number that requires razor-sharp timing and just the right mix of irreverence and charm, both of which felt slightly off the mark on opening night.

All of this is to say: “West Side Story” is a hard show to get exactly right, and lightning rarely strikes the same place twice. This production has plenty to admire—from committed performances and inventive staging to the continued bravery of programming such a culturally vital show. But it didn’t fully stir me the way I’d hoped. Still, supporting local theater and The Encore’s mission is always worth doing, and I’m eager to see what they take on next.

The Encore Musical Theatre Company’s WEST SIDE STORY continues through July 6th. Tickets can be purchased here.