PicksInSix Review: West Side Story - Music Theater Works

Stellar Revival at Music Theater Works!  
PicksInSix® Review | Guest Contributor | Ronald Keaton

To borrow from the barrister, it is nowadays considered a kind of 'settled literature' that the pedigree of “West Side Story” is thick and heavy with legend and quality. It allowed Jerome Robbins—a one-of-a-kind director, creator, and choreographer—to push dance toward its now familiar dominance in storytelling mode. It inspired its still-young American composer Leonard Bernstein to create soaring melodies and rapid-fire musical passages steeped in both tradition and innovation. It pushed playwright Arthur Laurents to draw its story from the greatest of all playwrights—William Shakespeare—by writing dialogue that was both conventional and inventive. He borrowed from the Bard the tool of creating new words to fit this vision of the star-crossed story sparked by the erstwhile lovers Romeo and Juliet. And partially through Mr. Laurents, it launched the astounding career of a young Hammerstein protege in the theatre, initially as a lyricist, one Stephen Sondheim.

Music Theater Works is now offering its version of this timeless endeavor at the North Shore Center for the Performing Arts in Skokie through August 30. And this production team has created their own pedigree in a marvelous way. There is a full 22-piece orchestra directed by Linda Madonia, under the expert baton of Justin Kono. There is oh-so-smart, insightful direction by Sasha Gerritson. Clayton Cross and Isa Ramirez share choreography credit. The intimacy/violence choreographer Nick Sandys created sharp, well-paced gang fights between the Sharks and the Jets, while tenderly and deftly weaving the romantic moments between Maria and Tony.

Most people know now the plot points that surround two young lovers from different races and their plight to find a future. But the battle for gang turf stands in the way, exacerbated by the racial stances each gang possesses. “West Side Story,” because of this issue alone, will always be relevant—even more so in today's sociology. But as the man says, "Love is love is love..." and both these young lovers believe it wholeheartedly. The scenes between Tony (Luke Nowakowski, his eloquent singing belies a touching simplicity) and Maria (Isabella Ruono in a bravura vocal performance) are so well done. They are packed with an unhurried warmth and real emotion, bringing the romantics in the audience to swooning.

The Jets and Sharks are each one strong character in the play. Yes, there are wonderful individual personalities in each gang, but both sides create their unison from the outset. They remain of one attitude, each balanced by the other side. It's really fun to watch, tragic to realize and hard to stage. Connor Ripperger is a stout Riff—"Cool" was fabulous. The Bernardo of Emmanuel Ramirez was smooth and prodding in his insistence that his sister Maria accept Chino (Kameron Rojas-Schueneman, properly hapless and shy) as her lover.

The cops in the show—Lieutenant Schrank (Ivan James) and Officer Krupke (Eric Desnoyers)— nobly bring their brands of gravitas and humor, respectively. Anita (the marvelous Pauleth Jauregui) is a constant presence who reminds Maria of the dangers of her particular love and what it might cost. Ms. Jauregui leads a rousing version of "America" while her duet with Ms. Ruano warning of "A Boy Like That" is fierce and personal. Matt Rosin turns what could be a thankless role in Doc into a real, poignant influence. The entire ensemble of Jets and Sharks brought a creative energy and verve to a piece that demands it in every musical note.

With a striking scenic design by Bob Knuth and lush costumes by Bob Kuhn, the show is visually striking and easily one of the best and most complete productions this writer has seen from Music Theater Works. When we consider our present world in its own exacerbation of the racial stances these gangs possess, this story stands hard and firm. “West Side Story,” because of this issue alone, will always be relevant—both a blessing and a curse. Fortunately for us, it is the blessing part that remains stalwart in the endless creativity here.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO|Brett Beiner

Music Theater Works
presents
West Side Story
North Shore Center for the Performing Arts
through August 30, 2026

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PROGRAM

For more reviews, visit: Theatre In Chicago

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PicksInSix Review: Brigadoon - Music Theater Works

Movement and Music Channel the Myth.
PicksInSix® Review | Guest Contributor | Scott Gryder

A lush lullaby of music lured the audience into the North Theatre at the North Shore Center for the Performing Arts in Skokie for the opening of the Music Theater Works production of the Lerner and Loewe classic “Brigadoon.” An ethereal pastoral landscape, swirling with misty enchantment, set the tone for the story of wonder, witchcraft and love ahead.

The legendary story of Brigadoon follows two wandering New Yorkers, Tommy and Jeff, traveling across the Scottish Highlands. After losing their way, their curiosities are piqued by the entrancing sounds coming from the vague image of a village tucked within the haze of the hills and absent from their map. What the two men find beyond the melodious voices is the secret village of Brigadoon, whose magical fate is to only appear every hundred years, defying time and space. Stumbling into Brigadoon, Tommy and Jeff not only discover an astonishing living time capsule of community, but they are also faced with deciding whether the lives they’ve left behind are worth trading for the magic they’ve found.

The cast of “Brigadoon” delivers a pleasantly proper portrayal of the tradition that is American Musical Theater. Leading man Conor Jordan brings a tenacious tenor to Tommy Albright, not just in his brash voice but with his heroic physique and protagonistic drive. Adding finesse and flare to the leading couple is ingénue Fiona MacLaren, played by Sarah Obert with a vocal beauty that could enchant all of Scotland to make their way directly to their hidden village. The leading couple shares a romantic fire that’s lit not with a conventionally saccharine enthusiasm but with a sincere investment of newfound potential. It’s the sarcastic Jeff Douglas of Zachary Linnert and whimsical wit of Timothy Wolf’s Mr. Lundie that ground the story in levels of their respective realisms. Linnert brings a keen honesty to Jeff’s text and predicaments, concisely hitting notes of humor and revelation with ease. And Wolf’s Lundie is lovably expounding throughout, despite the rants and rhymes of could-be lunacy.

Much like the mythical village of Brigadoon, Lerner and Loewe’s melodic Great American Songbook contributions have also stood the test of time with such beloved standards as “There But For You Go I" and “Heather on the Hill” to the catchy “Almost like Being in Love” and “Come to Me, Bend to Me.” Although the book of “Brigadoon” can be plodding and predictable at times, what director Sasha Gerritson does to help lead this production, beyond harmoniously staging across a myriad of times and places on one nearly static set, is to fully engage the ensemble. It’s obvious that Gerritson took the time to instill backstory and intent for each character, so the considerable ensemble isn’t just living wallpaper, they are alive in each moment.

What truly enhances the storytelling most is assistant director Clayton Cross’s choreography. As is the case with most musicals, when words fail the characters, they burst into song; however, Clayton’s choreography, ranging from fun and fanciful traditional Scottish dance to elegantly executed ballet, fiercely embodies the emotional mood of the musical numbers. Even when there are text breaks, and there is only music, the story continues to be told through Cross’s movement. Perfectly partnered with the choreography is the period costuming by Jazmin Aurora Medina, utilizing warm tartan prints and playful floral patterns to create a tone of history, tradition and mirth. And Ann Davis’s set design so rustically recreates the bewitching landscape of the Scottish Highlands, complete with a multi-level cobblestone bridge, that any wandering traveler would be hard pressed to refuse giving in to the enchantment of Brigadoon.

Solid serenading and energetic choreography guide us down the winding path to the otherworldly village of Brigadoon, whisking an audience away from the cares of everyday life and into an alternate reality. If you’re looking to escape into the spellbinding delights of the foundational canon of musical theater, then follow the sounds of the musical moors to Music Theater Works production of “Brigadoon.”  

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Brett Beiner

MUSIC THEATER WORKS
presents
Lerner and Loewe’s
BRIGADOON
through November 12
North Shore Center for Performing Arts
9501 Skokie Blvd., Skokie

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC