“Tonight, tonight” is the perfect night to see West Side Story at the Ritz Theatre Company
by Cassidy Scherz
“Tonight” is the perfect night to stop by the Ritz Theatre Company to see their enthralling production of West Side Story by Leonard Bernstein, Stephen Sondheim, and Arthur Laurents. And “who knows”, you might just find yourselves as enchanted by this beautiful production as I was. This modernized Romeo and Juliet tells the story of Maria, a young immigrant girl from Puerto Rico who dreams of making a life for herself in America, and Tony, a boy from New York City, who believes that his life’s purpose lies just around the corner. The unlikely pair fall in love, quickly escalating turmoil between two rival groups: the Sharks, headed by Maria’s older brother Bernardo, and the Jets, the “hoodlums” of Manhattan. Despite peoples’ fervent objections to the pair’s unlikely romance, Tony and Maria dream of a life together, away from the ruckus and violence of the city.
The stage transports us to the mid 1950s Upper West Side, complete with storefront paneling and Doc’s pharmacy. While minimal, set designer William Bryant does a wonderful job at clearly setting the scene while still allowing actors to move freely across a large portion of the stage. We see the setting change a couple times throughout the show, first to Doc’s drugstore, then to the school gym, and finally to Maria’s bedroom. My favorite part of the set is the balcony and fire escape outside of Maria’s room on which she and Tony share a romantic evening. The space is large, yet still creates a very comfortable and almost nostalgic feeling. Similar to the stage design, properties master, Tracy Jones, keeps the props to a minimum. Props are only used when they clearly enhance the scene, such as pocket knives and coke bottles, so as not to detract from the action. The same can be said for the lighting, expertly crafted by lighting designer Jen Donsky. I was very impressed by the detailed use of color and spotlighting that helped to immerse the audience in each scene.
Although many of us are familiar with the story, Edwin “Rico” Santiago gives us a West Side Story that is both true to the original, and innovative for a modern audience. In an effort to make the show more inclusive, music director André Vermeulen taught the cast half of the music in Spanish and the other half in English. Unfortunately, this change did not hold up due to extenuating circumstances, but I was very moved by the cast and crew’s attempt to create an environment in which all communities felt seen. Despite the cast having to relearn a good portion of the show in English on opening night, they pulled together and delivered a well rounded and complex performance. The tight harmonies were a standout, and I appreciated the dynamic shifts between pieces. West Side Story is, of course, a very dance heavy show, and I am in awe of choreographer Jennifer Gordon and assistant choreographer Jessica Brotherton, as their choreography beautifully captures the difference in styles between cultures. Group numbers could use a bit of cleaning, but the overall energy and commitment to each number is outstanding.
AJ Klein’s Tony is truly a privilege to witness. Klein understands the highs and lows that his character experiences, and he portrays them each with raw authenticity. His songs are performed with mesmerizing intimacy, and every single one of his character choices aligns with his overarching goal. His youthful optimism wonderfully compliments that of Emily Colón’s Maria. Colón is delicate and graceful, but still manages to bring the audience to tears in her more emotional scenes. Her passion and love for her character are evident throughout her performance, and her development from beginning to end is incredibly detailed.
Riff, played by Nick Flagg, and his counterpart Bernardo, played by Julián Pérez, contrast each other nicely on stage. Both characters have a strong desire to preserve their history and to protect their own, and both Flagg and Pérez convey this with the utmost intensity and power. Each actor commands attention while on stage, and it is impossible to tear your eyes away. Kyra Janaé Bryant controls the stage and captivates the audience with her portrayal of Anita. Her strong vocals, sassy demeanor, and sense of empowerment add to her charisma, and I found myself drawn to her in every scene.
Mark Gollihur is a pleasure to watch as both Glad Hand and Doc. After the show was over, Mark shared with me that this was a dream role of his. After having played Tony many years ago, he felt that playing Doc mirrored his growth in life. This was reflected in his poignant and heartfelt performance. Mike Doheny and John Jackowski are an equally witty and terrifying duo as Schrank and Krupke, the law of the city. They nail the bad cop worse cop routine, and their hateful and patronizing attitude sent chills down my spine.
The large ensemble was a profoundly powerful crew. Connor Shields, Riley Newman, James Legg, Nick Intrieri, Patrick King, and Carley Dagilis bring a juvenile charm to the Jets, and their hilarious “Gee, Officer Krupke” number is certainly a standout. Carlos Jiga, Diego Subero-Butler, Evan Hairston, Christian Santiago, Amron Salgado, and Zachary Palais round out the Sharks with an intensely intimidating swagger. Emily Rooney, Val Calderone, Christine Ann Gilbert, Jessica Brotherton, Lindsey Krier, Minnie Giannetti, Katrina Edwards, and Ava DiFilippo complete the cast, with a standout solo from Carmen Delia Bryant that leaves the audience teary eyed.
Costume designer Megan Iafolla gives us a beautifully diverse picture, choosing specific color pallets to represent each of the characters. Intimacy and fight coordinator Sean McGarry, as well as fight coordinator Dominic Ciarrocchi allow the audience to experience the magic of Tony and Maria’s love, as well as the hatred that runs rampant between the Sharks and the Jets. Stage manager Mia DiFilipppo, assistant stage managers Naomi Serrano and Gabriel Slime, sound engineer Matthew Gallagher, and sound technicians Ed Doyle and Brian Gensel also deserve recognition for their work on this entertaining performance.
I commend the entire cast and crew of West Side Story for their commitment and dedication to this project. If you are looking for a reason to laugh, to cry, and to get some of this catchy music stuck in your head for the next couple of weeks, it is certainly worth a visit to the Ritz Theatre. “Something’s Coming,” and I can guarantee you won’t want to miss it! West Side Story runs from now till July 28, you can purchase tickets here: https://www.tix.com/ticket-sales/RitzTheatreCo/6520
