Pauline Adamek
Possibly the greatest musical ever created, West Side Story – a modern version of Shakespeare’s Romeo and Juliet set on the mean streets of New York during the turbulent fifties – is now playing at the Dorothy Chandler Pavilion in DTLA with performances on select dates until October 12, 2025. More information here.
An exceptional musical, with a gifted young cast and experienced orchestra, fantastic staging and – of course – incredible choreography, this production is handsomely presented and full of vitality, grace and passion.
Photo credit: Cory Weaver.
Boasting soaring music by Leonard Bernstein, tender lyrics by Stephen Sondheim, gripping story and book by Arthur Laurents, and brilliant and ground-breaking choreography by Jerome Robbins, here is a case where the confluence of exceptional talents created magic; West Side Story is “lightning in a bottle.”
LA Opera has chosen West Side Story to inaugurate its 40th anniversary season. This marks the first time the company has staged West Side Story as part of its main season. It is also the final season for James Conlon as Music Director, having led the company for twenty years. Conlon conducts this production, delivering a fully operatic orchestral scale for Bernstein’s score. The work is presented as a co-production with Lyric Opera of Chicago, Houston Grand Opera, and the Glimmerglass Festival.
This production stars Gabriella Reyes, making her impressive LA Opera debut as Maria. She brings a sweetness and youthful energy to the role, perfectly capturing the dizzying flush of first love. She proves more than capable with the musical’s more soaring moments. Duke Kim is decent as Tony, having recently made his LA Opera debut as Roméo in Gounod’s Roméo et Juliette during the 2024‑25 season. His athletic presence supports his warm voice, which blends perfectly with his co-stars. In last night’s performance, Anita was performed by Daniella Castoria, and Rosalia (usually performed by Daniella Castoria) was performed by Joy Del Valle. Both were wonderful in their roles.
This production feels like a mashup between opera and musical theater. Visually and choreographically, the staging delivers plenty of kinetic energy, capturing the explosive scenes of conflict and violence which are stylized through dance and Robbins’ superb choreography. Robbins worked closely with Bernstein to create a new kind of musical theater where the choreography and the score were deeply integrated, elevating the dance sequences from simple accompaniment to a primary storytelling device.
Hence, the “rumble” sequence has ample intensity, with the dancers encircled by chain-link fencing and their movements interlocking with orchestral punctuations to heighten the dramatic tension. All this angst and action is further complemented by the musical’s calmer romantic interludes, which are supported by a softer lighting palette and quiet intimacy.
Who else but Robbins could choreograph tough street gangs who dance to express their angst, frustration and ferocious rivalry? When have you ever seen the expression of repressed anger through a pirouette? The iconic song “Cool” distills this idea and succinctly presents it with such heat, passion and explosion of pent-up energy, it virtually leaps off the stage. And when the orchestra let loose with some of those memorable melodies – especially the vibrant brass section – it is thrilling to experience live.
From the press release:
Countless fans know and love Leonard Bernstein’s landmark work with songs like “America,” “Somewhere” and “I Feel Pretty,” but few have seen it like this. Originally conceived as an opera, we’re paying tribute to Bernstein’s impact as only we can, with James Conlon leading the brilliant LA Opera Orchestra—not to mention a magnificent cast in top vocal and physical form. Director Francesca Zambello dives into one of the most emblematic works of American theater with this elevated, maximalist take that incorporates the iconic original choreography created by the legendary Jerome Robbins.
New York City’s West Side is split between the Jets and the Sharks—but these warring gangs never imagined that two of their own could fall in love. Tenor Duke Kim is Tony, a former Jet who finds himself falling for Maria (the radiant Gabriella Reyes). But Maria is promised to another, and her brother Bernardo is more than willing to rally his Sharks to keep it that way. The two lovers dream of a happily ever after, but their neighborhood can see tragedy coming a mile away.
LA Opera – West Side Story
Running time: approximately two hours and 30 minutes, including one intermission
Pre-show talks by James Conlon take place in Stern Grand Hall one hour before every performance.
Dorothy Chandler Pavilion in DTLA with performances on select dates until October 12, 2025.
Terry Morgan