Interludes

THE HANGOVER REPORT – Paper Mill Playhouse mounts a sturdy, traditionally-staged revival of WEST SIDE STORY

• By drediman
• June 2, 2026
• No Comments

Perhaps with one of the few glaring exceptions being Ivo van Hove’s experimental revival that opened on Broadway just prior to the world-changing covid pandemic, Jerome Robbins’ singular vision permeates almost every major production of West Side Story, that muscular and ingenious musical updating of Romeo and Juliet by the venerated triumvirate of Arthur Laurents (book), Leonard Bernstein (music), and Stephen Sondheim (lyrics). Robbins directed and choreographed the original 1957 production with a striking seamlessness, perhaps the most perfect example of a fully integrated musical that theatergoers had ever seen up until that point. Since then, the iconic physicality he has created for the gang-ridden streets of New York has all but become synonymous with the musical; even the 2021 Stephen Spielberg film, choreographed by New York City Ballet’s Justin Peck, paid respectful homage to the Robbins original.

The current Paper Mill Playhouse revival, which opened on Sunday night, is no exception (the spring/summer mounting of the show coincides with the unveiling of the plushly expanded Carriage House restaurant and bar, a welcome upgrade to Paper Mill’s charming campus). Returning to stage the revival ten years onwards from Paper Mill’s last West Side Story is director Mark S. Hoebee and choreographer Alex Sanchez, who have predictably stuck to Robbins’ template. Indeed, the faithful, carefully-considered final product would make the Robbins estate proud. Despite the close physical resemblance between the two Paper Mill productions — both actually use the same basic scenic elements as the 2009 Broadway revival designed by James Youmans — I actually enjoyed the current revival just a tad more. One of the reasons may be because the current crop of Jets and Sharks more authentically register as juvenile delinquents. It may also have to do with comparisons to van Hove’s divisive revival and the overly polished ensemble of the 2009 Broadway revival (who, admittedly, were the superior singers and dancers). Under conductor Ben McNaboe’s baton, the 20-piece orchestra capably reproduce the iconic sonic landscape of Bernstein’s glorious score, even if the sound design was occasionally muddy.

The production’s biggest assets are Noah Henry and Mikaela Secada, who play Tony and Anita, respectively. The fresh-faced Henry’s Tony is that rare combination of boyish charm and endearing idealism — and, he sings with an effortless confidence that’s very easy on the ears (his “Something’s Coming” and “Maria” simply soar). Although it’s hard to erase memories of Tony-winner Karen Olivo, I was impressed by the sultry confidence of Secada in the role of Anita; she has made the role all her own. Paper Mill’s current Maria, the bright-voiced Sarah-Anne Martinez, is altogether lovely and does well to convey the character’s increasing mettle as the show unfolds, especially in the more dramatic second act. All in all, this West Side Story is a sturdy, traditionally-staged revival of the much-loved musical and a great way to close Paper Mill’s 2025/2026 season. For those of you looking for a summertime musical theater fix, a quick and pleasant getaway to Millburn may be just what the doctor ordered.

RECOMMENDED

WEST SIDE STORY
Regional, Musical
Paper Mill Playhouse
2 hours, 30 minutes (with one intermission)
Through June 28