SOMEWHERE, STILL

Paper Mill Playhouse proves
that a classic doesn’t need fixing

Nick Alvino (Action) and Joseph Aued (Pepe)

The powerful and poignant West Side Story has been retooled, tweaked, and tinkered with in the years since the original 1957 production boldly burst forth on Broadway. Not every change was for the better. For a change, those presenting the version at Paper Mill Playhouse don’t feel the need to stray from what its creators so brilliantly conceived and realized. The “If it ain’t broke, don’t fix it” philosophy is most welcome. Unlike a couple of recent mountings and the movie remake, they’ve respectfully retained its architecture.

Noah Henry (Tony)

Alex Sánchez has reproduced the iconic, exciting, edgy, vibrant Jerome Robbins choreography that can make audiences accept tough juvenile delinquents leaping and spinning in ballet moves, making such dancing “Cool” (to borrow the title and attitude of one of the gang’s songs). He and the organization’s longtime director, Mark S. Hoebee, helm this as they did ten years ago.

The Company of West Side Story at Paper Mill Playhouse

Garth Edwin Sunderland orchestrated for 19 musicians, a smaller band than the 30 used for Leonard Bernstein, Sid Ramin, and Irwin Kostal’s orchestrations, but as conducted by Ben McNaboe, definitely in the spirit of the original. No gimmicks, such as film projections, are flashed on the stage. No musical number is trimmed or treated to a translation into Spanish, nor is such done for dialogue, for a presumed need to make the Puerto Rican-born characters seem more “believable” when talking amongst themselves.

Avelina Kiyome Sanchez, Kennedy Perez, Mikaela Secada (Anita), Kyra Sorce, and Delaney Diaz

The musical numbers also remain in their original theatrical order rather than the reshuffled sequence used in the 1961 film. Most notably, “I Feel Pretty” appears after the rumble rather than before it, restoring the song’s tragic irony (that is why “night” and “bright” replaced “day” and “gay” in the movie). Likewise, “Gee, Officer Krupke” and “Cool” return to their original stage placements. Those most familiar with the movie may also be surprised by some of the lyrics, particularly in the less-sanitized stage version of “Gee, Officer Krupke.”

The Jets

The magnificent score is embraced and well-served with Bernstein’s instrumental dance music, kinetic and spine-tingling at times; Stephen Sondheim‘s lyrics (originally credited to both men, some Bernstein lyrics remain after the Sondheim rewrites); and Arthur Laurents’ dialogue still snaps, shocks, and sparkles; it’s a model of economy. Love at first sight for Tony and Maria—the pair inspired by Romeo and Juliet—is all the more romanticized with Charlie Morrison‘s dramatic lighting when they first meet at the dance and a sky full of stars for these star-crossed lovers.

Hugo Pizano Orozco (Chino), Mikaela Secada (Anita), Antony Sanchez (Bernardo), and Sarah-Anne Martinez (Maria)

The show—which had been playing since the last day of May—was in fine shape overall. The tensions between the street gangs, the Jets and the Sharks, are palpable, as is the instant attraction between the young protagonists Tony and Maria. And Noah Henry and Sarah-Anne Martinez as Tony and Maria are satisfyingly sympathetic. Their singing makes the potentially florid moments accessible, eschewing grandiose, distancing operetta-adjacent flourishes without sacrificing gorgeous sustained notes. There’s passion and chemistry there. Their “Tonight” duet is breathtaking. Antony Sanchez as the Sharks’ leader, Bernardo, is suitably commanding and imposing. Adam Monley is chilling in his own way as the sneering, snarky policeman Lieutenant Schrank, wearing condescension and prejudice toward the teens like a badge of honor.

Noah Henry (Tony) and Sarah-Anne Martinez (Maria)

On June 14 (coincidentally, the same date as the annual Puerto Rican Day Parade in Manhattan, less than an hour away), five parts were taken on by understudies who usually play other characters (two are swings). Reassigned were three men from the Jets (including the leader Riff), Anita, and Consuela, one of the Sharks’ girlfriends. Some desirable dazzle and command felt lacking, likely due to the shuffling, so this review will refrain from any urge to complain about being underwhelmed by those under pressure. For those long familiar with WSS, some comic-relief moments came unexpectedly due to the actors’ line readings and reactions (some arguably a substitute for drama); conversely, other potential laugh lines were underplayed or became little-missed opportunities.

The Sharks

Resentments based on cultural and generational differences, leading to unrelenting bitterness, fear, and tragedy, linger over the saga like a poisonous cloud. The message that people’s outward differences should not make such a difference still resonates and is still, sadly, relevant. Love doesn’t always conquer all in too many fraught stories—factual or fictional. And West Side Story is one such story. Paper Mill Playhouse brings it with beauty and integrity; be advised to bring tissues for tears, too.

Sarah-Anne Martinez (Maria) and Mikaela Secada (Anita)

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photos by Evan Zimmerman for MurphyMade

West Side Story
Paper Mill Playhouse
22 Brookside Dr. in Millburn, NJ
2 hours 20 minutes, plus intermission
ends on June 28, 2026
for tickets, call (973) 376-4343 or visit Paper Mill

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