'West Side Story' at Alhambra Theatre & Dining is a Visceral, Passionate Revival of a Timeless Tragedy

Few musicals carry the emotional weight and timeless urgency of West Side Story, and Alhambra Theatre & Dining’s latest production delivers a stirring, high-energy interpretation that pulses with life. A groundbreaking fusion of classical, jazz and Latin influences, West Side Story remains a modern classic, reimagining Romeo and Juliet through the lens of 1950s New York gang rivalry.

With music by Leonard Bernstein and lyrics by Stephen Sondheim the show pulses with an electrifying score that ranges from the aching romance of “Maria” and “Somewhere” to the explosive energy of “America” and “Cool.” Beneath its thrilling musicality, however, lies a stark and tragic tale of racial tension, hatred and division, where love struggles to survive in a world poisoned by prejudice. More than just a retelling, West Side Story interprets its narrative through dance — every leap, spin and sharp snap of fingers conveying unspoken emotions, from the raw aggression of gang warfare to the tender intimacy of forbidden love.

A Choreographic Tour de Force

Dance is the beating heart of West Side Story, and this production elevates it to exhilarating heights. Erick Ariel Sureda’s choreography seamlessly weaving ballet, flamenco, jazz and modern dance, this production transforms movement into storytelling. The iconic balletic fight sequences are sharper and more intense than ever, turning every leap and turn into a visceral expression of conflict. The Jets exude a smooth confidence, moving with an effortless swagger that sets them apart. “Cool” simmers with restrained fury, its choreography coiled like a spring, ready to snap. The Sharks bring a fiery intensity to the stage, their movements bold, dynamic and bursting with energy. They contrast the Jets’ smooth swagger with an untamed passion, each step infused with tension, pride and defiance. The mambo scene crackles with electricity, each ballroom step igniting the stage in a blaze of movement.

Equally impressive is the fight choreography under the direction of Thaddeus Walker, which masterfully blurs the line between shocking realism and poetic interpretation. Every punch, every struggle is meticulously crafted to feel both raw and expressive, heightening the stakes of each confrontation. The balletic elements lend a haunting beauty to the violence, while the sudden, jarring impacts remind the audience of the real-world consequences of this gang rivalry. The intensity is palpable — fights erupt with a somewhat terrifying, chaotic energy that feels dangerously unpredictable, yet every movement is executed with precision. It’s a visceral experience that keeps the audience on edge, reinforcing the tragic inevitability of the story’s outcome.

Passionate Performances and Flawless Vocals

Brayden Schilling’s Tony is endearing, capturing the wide-eyed optimism and reckless passion of a young man in love. Lauren Henriques’ Maria is a revelation, her soprano both pure and powerful, effortlessly gliding through the delicate highs of “Tonight” and the aching vibrato of “One Hand, One Heart.” Together, they embody the beauty and tragedy of youthful love — passionate, idealistic and heartbreakingly naive. Their harmonies soar, filling the theater with a sense of hope that is painfully fragile.

Nayda Marie Baez commands the stage as Anita, delivering a performance rich with humor, fire and raw emotion. Her comedic timing is impeccable, but it’s in “A Boy Like That” that she truly stuns — her anguish and fury palpable as she spits out “one of your own kind,” a line heavy with pain. She and Sierra Rusnak’s Rosalia are crisp and dynamic in “America,” their interplay electric, the choreography a masterful blend of flamenco footwork and Broadway precision. Marco Puente’s Bernardo is an imposing presence, his movements sharp and authoritative, a perfect contrast to the Jets’ easy bravado. Jessie Roddy’s performance of “Somewhere” is hauntingly beautiful, her voice carrying equal measures of hope and sorrow that makes the dreamlike ballet sequence feel even more fragile. Her ethereal delivery underscores the moment’s innocent and fleeting beauty, making its inevitable collapse all the more heartbreaking.

In stark contrast, Thaddeus Walker’s Schrank is a chilling embodiment of the hatred that shatters that fragile dream. His performance is sickeningly effective, leaning into the character’s racism with unsettling authenticity. Every sneer, every dismissive glance makes the audience squirm, a stark reminder of the deep-seated prejudice and hatred that fuels the show’s tragedy. And in a moment of true theatrical poignancy, Ken Uibel delivers a showstopping performance as Doc — his 100th and final production at the Alhambra. His portrayal is layered with deep frustration, simmering indignation and restrained fury, a man powerless to stop the cycle of violence unfolding before him.

A Stunning, Heart-Wrenching Revival

Alhambra Theatre & Dining’s West Side Story is a breathtaking blend of beauty and brutality, where love and violence collide with heartbreaking inevitability. With striking choreography, powerhouse performances and a story that remains painfully relevant, this production captures both the grandeur and the gut-wrenching tragedy of one of musical theater’s greatest masterpieces. It’s a powerful reminder that while hatred may destroy, hope and humanity still fight to be heard.

West Side Story runs Saturday, February 22 through Sunday, March 30 at the Alhambra Theatre.

For more information, full cast and crew credits and links to tickets, visit the West Side Story page here on JaxPlays.