By Lynn Venhaus

Bursting with vitality, The Muny’s latest heart-tugging interpretation of “West Side Story” emphasizes its potency as a cultural snapshot and the exceptional elegance of its buttery vocals.

Arthur Laurents’ 1957 contemporary slant on Shakespeare’s “Romeo and Juliet” brims with pulse-pounding tension as rival ethnic gangs, The Jets and Sharks, fight on the mean streets of Manhattan’s pre-gentrified Upper West Side while you root for forbidden yet fairy-tale hopeful love.

As the star-crossed lovers Tony and Maria, Christian Douglas and Kanisha Feliciano will break your heart and their lush vocals will melt it. Their duets “Tonight” and “One Hand, One Heart” are exquisite, as is standout Douglas exuberant in “Maria” and projecting the longing in “Something’s Coming.”

The timeless music score again demonstrates its power as one of the greatest American musicals of all-time. Some 66 years earlier, Leonard Bernstein’s supple orchestrations and 27-year-old Stephen Sondheim’s brilliant lyrics forged unforgettable songs – including poignant “Somewhere,” vibrant “America,” propulsive “The Jet Song,” comical “Gee, Officer Krupke” and the fervid “Cool.”

The Jets. Phillip Hamer photo.

Rob Ruggiero seamlessly directs the musical with compelling urgency, stressing the emotional weight of an ‘us vs. them’ culture clash, an ingrained blind hatred that fuels the tumultuous turf wars of entrenched ‘white’ lower-class locals vs. Puerto Rican immigrants.

As is his custom, Ruggiero is a master at stripping down a show to its essentials, deconstructing a piece and making us see it through new eyes. He’s been the go-to guy for definitive productions of “Sweeney Todd” (2022), “Gypsy” (2018), “Hello, Dolly!” (2014) and “South Pacific” (2013) at the Muny, and transplendent productions of Sondheim’s “Sunday in the Park with George” and “Follies” at The Repertory Theatre of St. Louis.

When the musical first debuted on Broadway, while spellbinding and integrating those visionary dance scenes, audiences didn’t know how to take such a dark story that resulted in two major characters killed off before intermission. Tragedy wasn’t a forceful plot point in those golden era musicals – hence, “The Music Man” defeating it for Best Musical at the Tony Awards.

Photo by Phillip Hamer.

However, through the years, its appeal has grown, and several Broadway revivals have enhanced its stature, including a heralded 2009 reworking, with contributions by Lin-Manuel Miranda for more Latino authenticity.

The landmark 1961 film, the top-grosser that year, was nominated for 11 Academy Awards, and won 10, including Best Picture, making it the record-holder for movie musicals. The film is second only to “Singin’ in the Rain” on American Film Institute’s list of Greatest Movie Musicals.

Sixty years after its release, director Steven Spielberg reimagined this gritty street symphony in 2021, earning critical acclaim and seven Oscar nominations, with Ariana DeBose winning Best Supporting Actress as Anita.

The film first captured my heart on the big screen, as a reissue in fall 1968 before being sold to television, and I was immediately entranced at age 13. After multiple repeat viewings, a special anniversary DVD, and devouring all sorts of behind-the-scenes materials, it still holds my heart.

Jerusha Cavazos as Anita, center. Phillip Hamer photo.

While the original hasn’t aged well in the millennium with a predominantly white cast, bad makeup and some dubbed voices, it does capture a moment in time, and the 2021 adaptation corrected the egregious.

Eager to experience the magic again, this electric production did not disappoint Sunday night. The last Muny one, in 2013 with Kyle Dean Massey and Ali Ewoldt, was epic and became my gold standard, so a high bar. Let’s just say the Muny has come a long way since the first time I saw it there in 1982, as a season ticket holder, with Barry Williams, aka “Greg Brady,” as Tony. Ah, those old days of stunt casting.

This is the ninth time “West Side Story” is at the Muny, and retains its grip with such vigor, alive with possibility. It draws out the sadness because optimism is thwarted by ill-fated violence.

This run coincides with the 60th anniversary of the Muny’s first staging in 1963. It returned for a two-week run in 1967, and was seen again in 1982, 1990, 1995, 2000, 2005 and then 10 years ago.

While some of the dialogue is insipid in that ‘50s daddy-o way, the stage musical continues to take me to my happy place as my all-time favorite. It does still pack an emotional punch in its truth and remains relevant today.

Why did this version make me fall in love with it all over again, after seeing it countless times on tour, in regional, community and youth theaters? Let me count the ways.

the Jets vs Sharks. Phillip Hamer photo.

Jerome Robbins’ original stylized dance numbers are precisely reproduced by choreographer Parker Esse – the enthralling “Prologue,” “Dance at the Gym,” “America,” and “Cool” and the muscular, balletic ensemble leapt on the ginormous stage in breathtaking fashion. The staging of the “Somewhere” dream ballet pulls the heartstrings, enhanced by Grace Marie Rusnica’s affecting vocal.

It’s a thing of lyrical and kinetic beauty to see those polished, passionate performers burn bright with red-hot intensity. Their version of the “Tonight” Quintet and Chorus is magnetic.

Arguably, there is not a better musical score, and the numbers are admirably delivered. Music Director James Moore is such a graceful conductor that a few bars into the overture, and his artistry has you hooked with his expertly orchestrated pieces. You may recall his luxurious skills in conducting Sondheim before – “Sweeney Todd,” “Gypsy,” and the last “West Side Story.” He makes you feel the music.

Performers familiar with their role’s challenges boost the show’s dynamics. Yurel Echezarreta is the seething, smoldering Bernardo, and it’s his seventh “West Side Story,” including Spielberg’s movie.

In his fifth Muny show, Kyle Coffman brings the heat as a limber Riff, the cocky, driven leader of the Jets and Tony’s best friend “womb to tomb.” He was Ice in Spielberg’s movie and part of the 2013 ensemble.

Making her Muny debut, Jerusha Cavazos is a fiery Anita, and along with her lissome dancing, she conveys a solid chemistry with Feliciano’s Maria, including the sublime duet, “A Boy Like That/I Have a Love.”

Caylie Rose Newcom is a feisty Anybodys, the tomboy Jet, and Ethan David Steph as hothead Action, Ethan Van Slyke as greenhorn Baby John and Daniel Assetta as explosive A-rab are also notable.

Ken Page as Doc. Phillip Hamer photo.

Local actors elevate the standard “adult” roles, with revered Muny all-star Ken Page touching as the kind, frustrated Doc, Tony’s boss and drugstore owner. Versatile veteran Michael James Reed portrays Lt. Shrank with a disquieting hostile edge and what a pleasure to see outstanding dramatic actor James A. Butz making his Muny debut as the sweaty, ineffectual Officer Krupke.

Ann Beyersdorfer’s scenic design is a striking urban jungle grid, depicting the decaying tenements that would be later torn down for Lincoln Center and such. Her set pieces – the dress shop, Doc’s drugstore – are smartly detailed, and both fluid and functional. Beyersdorfer is from Belleville, Ill., and this is her third show at the Muny, after this season’s opulent “Beauty and the Beast” and last year’s earthier “Camelot.”

Other noteworthy designs include the vintage costumes from Gail Baldoni, who has selected specific muted color palettes for the Jets and the Sharks and crafted a stunning white dress as Maria’s iconic outfit for the dance. Her bright fuchsia-violet shades for the Sharks’ girls in the “Mambo” and “America” scenes are eye-catching and enliven the dances.

And John Lasiter’s lighting design takes us from sweltering summer playgrounds to moonlit fire escapes to desolate concrete battle grounds while Shawn Duan’s video design punctuates exteriors and interiors.

“West Side Story” endures as a idealistic love story dashed by the gut-punch of tragic circumstances of gang war because of the reality we live. At a time when we hear of tribal sparring daily across the nation, this story is a reminder that decades after this social commentary pointed out what misguided hostilities can lead to, this musical provides a glimmer of hope that fists won’t stay clenched, and headlines won’t point out another young gun-related death.

Whether you have never seen it or have sat under the stars mesmerized multiple times, this season’s “West Side Story” entices – it has a significant snap and pop to it, and the care involved in its presentation is perceptible. We may be dreamers, but love is a powerful tool. And these soaring vocals will give you goosebumps.

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Somewhere. Grace Marie Rusnica sings. Phillip Hamer photo.

The Muny presents “West Side Story” nightly at 8:15 p.m. from July 15 to 21 on the outdoor stage in Forest Park. For more information, visit muny.org.

Dance at the Gym. Amy Maier photo.

By Lynn Venhaus
Managing Editor
Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone and Imelda Staunton. Their different portraits of the iconic Momma Rose character in “Gypsy” are among the most legendary in theater history. Now add Beth Leavel to that august list.
The Muny’s sixth production of the gutsy Jule Styne-Stephen Sondheim classic hits the heights in so many ways, but first and foremost is Leavel’s knockout performance.
Most of the time, the ambitious Momma Rose is viewed as a heartless monster and played in that blustery, brassy Merman-style. Others have realized that Rose is a tough survivor. Either way, she is hard to warm up to, but at least Leavel makes you understand her.

Leavel is a Tony winner for “The Drowsy Chaperone,” veteran of 12 Broadway shows and Muny diva whose “Hello, Dolly!” in 2014 remains one of the outdoor stage’s finest shows. Tackling this titanic role was a challenge I was certain she could meet but was not prepared for the delicate balance she achieved.
Sure, hear her roar. A born belter who projects well, Leavel pretty much started at 11, and then dialed back to modulate this complex character.
Given that Rose was introduced in 1959, when theater was not a champion of woman empowerment, it’s interesting that book writer Arthur Laurents wrote such a complicated part. And now it’s on nearly every actress’s bucket list.
The show is loosely based on the 1957 memoir of Gypsy Rose Lee, a burlesque entertainer known internationally for her striptease artistry. She’s the Louise inspiration, and her sister, actress June Havoc, is Baby June.
Their mother pushed them into the vaudeville circuit in the 1920s, dreaming of showbiz success. June was the extroverted performer while Louise was shy and in the background. That changes during the show’s many conflicts.
This ultimate stage mother, fiercely driven and controlling, is twice-divorced and perpetually broke. Rose must be resourceful and rely on her wits in a world not used to strong independent women.
She is a bulldozer, but peerless director Rob Ruggiero’s emphasis is that she’s motivated out of desperation. Always thinking of where their next gig will be, and if they can grab the spotlight, Rose is all about what’s next – for her and those she loves.
Because their mother is living through her children’s lives, Baby June and Louise will suffer the consequences from her abrasive efforts. However, her bossiness hides the fear of failing, of losing, of not making it through to the next day.
Ruggiero’s ability to deconstruct a 1950s era “book musical” and bring out what makes it enduring is why his shows resonate, especially on the expansive Muny stage. Despite my familiarity with a show I’ve seen multiple times, he makes it seem that I’m seeing it for the first time – namely “Hello, Dolly!” “South Pacific” and “Oklahoma” at the Muny, and award-winning “Follies” and “Sunday in the Park with George” at The Repertory Theatre of St. Louis.
Besides a vulnerability that seeps through in this “Gypsy,” there is an undercurrent of hunger. People are hungry physically, emotionally and mentally. They crave some things that have been out of reach or are not yet attainable, whether it be a nourishing meal, a living wage, a sense of worth or a dream realized.
Because of this deeper context, the musical is not just a showcase for Momma Rose, and this cast has an abundance of talent. Adam Heller captures nice-guy agent Herbie, the good cop to Rose’s bad cop, in a nuanced portrait of the man Rose loves – and pushes around. He and Leavel, a real-life couple, are noticeably in sync in their numbers “You’ll Never Get Away from Me” and “Together Wherever We Go.”
While they headline, Julia Knitel is a stealth bomber. Lanky and awkward as a reluctant Louise, the proverbial people-pleaser who only wants what Momma says is best, she blooms as Gypsy Rose Lee. It’s a striking performance, and her physical transformation is astonishing – although Knitel was already endearing from the get-go, especially in the heartbreaking “Little Lamb.”

She and Hayley Podschun as June share nice moments, including “If Momma Was Married.”
Their younger counterparts, Amelie Lock as Baby June and Elise Edwards as Baby Louise, are winsome performers. It’s a slick move when Ruggiero transitions them from young to older midway in a number.
Another standout is St. Louisan and Muny regular Drew Redington as Tulsa, a superb dancer who outgrows the kiddie act. His solo to “All I Need Is the Girl” is sensational.

The scene-stealing strippers in “You Gotta Get a Gimmick” are not only a hilarious sight gag but terrific performers who were a bright spot of comic relief. Jennifer Cody as Tessie Tura, Ann Harada as an older Electra and Ellen Harvey as a statuesque Mazeppa were laugh-out-loud funny.
Lighting designer John Lasiter’s precise work deserves mention, as does costume designer Amy Clark, going the showbiz gamut from kitsch to glitz — and those distinctive patterned cloth coats for Rose.

Scenic designer Luke Cantarella draped the show in reality – muted colors for drab sets to indicate the hardships during financially strapped times, and the dingy two-bit nature of the fading vaudeville circuit.
Ruggiero’s dream team of choreographer Ralph Perkins and music director James Moore assured that the song-and-dance numbers would be first-rate. They’ve worked together on multiple productions.
Nevertheless, maestro Moore raised the bar. He displayed his expertise conducting the orchestra in an overture that was so magnificent the audience applauded midway. And this was only the start of something special. The orchestra’s big wall of sound, with all that splendid brass, was one of the show’s best elements..
After all, what great material to work with — Jule Styne wrote this unforgettable music. He’s behind such famous tunes as “Don’t Rain on My Parade,” “Let It Snow” and ‘The Party’s Over.” Paired with lyrics by the incomparable Stephen Sondheim, fresh off “West Side Story,” these songs have stood the test of time.
“Everything’s Coming Up Roses” brings the house down at the end of Act I. And Leavel still had plenty left in her tank for Act 2.
After Rose has cajoled and bullied her way through nearly two acts, we are ready for Momma to confront her demons in the showstopper “Rose’s Turn.”
In this emotional wallop, Leavel gave it everything she had, defiantly going through a litany of anger, frustration and regrets for Rose to finally realize she did it for herself. And to herself.
It’s one of the greatest scenes ever, and Leavel hits it over the free-seats fence. Afterwards, we had to let it sink in, like she did in catharsis, and then wave after wave of applause stopped the show until the very long ovation waned.
That shared experience is what we all hope for when watching live theater, and she earned it, seizing her moment, fearless and alone on that stage.
While the show is bleak – and I’ve seen productions that were darker – there is still a glimmer of hope: that mothers and daughters can reconcile, that brighter days are ahead, and that all the work that goes into a goal was worth it.
This “Gypsy” doesn’t sugar-coat show business or struggles, and instead tells us about real-and-flawed people trying to get by and get noticed. It’s a remarkable achievement in storytelling and features a cast that makes you feel everything they experience.
“Gypsy” was clearly ahead of its time, back in 1959. And this week it was time for the Muny to hit repeat in a brand new way for this Centennial Season.
“Gypsy” is presented July 27 through Aug. 2 at 8:15 p.m. nightly at The Muny’s outdoor stage in Forest Park. For more information or tickets, visit www.muny.org or call MetroTix at 314- 534-1111.

Photos by Phillip  Hamer