Looking Forward to Summer: June - August 2026

Looking Forward to Summer:

June - August 2026

As we gear up for the 2026 Tony Awards, summer is upon us, and, theatrically at least, things slow down. Still we have things to look forward to as the temperatures rise! But before we get to that, let's review the spring season. It was pretty busy, and it was a mixed bag. The Broadway shows we loved included The Lost Boys, Schmigadoon!, Cats: The Jellicle Ball and Titanique. Off-Broadway, we loved The Wild Party. And regionally, we were very impressed with the Washington National Opera's West Side Story. Then there were shows that we were so-so about or really didn't care for. Regionally, that was a Baltimore production of Next to Normal, and on Broadway that was The Rocky Horror Show and Beaches. Interestingly, we agreed with the critics (and Tony nominators) on Beaches, and we completely disagreed with the critics (and Tony nominators) on The Rocky Horror Show. Onward we go!

This summer, we hope to get to...

Off-Broadway:

Heated Rivalry: The Unauthorized Musical Parody (The Club)

Now that they've extended the run, we may actually get to see this one! We are, of course, part of the legions of fans of the series. And it seems we have never seen a parody we didn't like! (Xanadu, Silence! The Musical, Titanique, etc.) Add to it that the leads are two of our biggest favorites - Jay Armstrong Johnson for years, Jimin Moon ever since Sunset Boulevard. This should be a nice summer treat...

Broadway:

Arthur Miller's Death of a Salesman (Winter Garden Theatre)

Hard to believe, but this is one American classic I've never seen on the stage. I have yet to see an Arthur Miller play I didn't like (both All My Sons and The Crucible are among my all-time favorites. With Nathan Lane and Laurie Metcalf at the lead, and new favorite Ben Ahlers in support, I don't see how we could pass this one up!

Becky Shaw (Hayes Theatre)

I know the least about this show of any on this list, but the buzz around this one put it right at the top of our list! I've loved the work of Linda Emond for some time, and I've been smitten with Lauren Patten since Fun Home. It'll be really cool to The Handmaid's Tales's Madeline Brewer performing live, and I understand Alden Ehrenreich is giving the debut performance of the season. Can't wait to see this one this weekend!

Just In Time (Circle in the Square)

I have to admit that curiosity has gotten the better of me with this one. While I've grown weary of bio-musicals, and I know little of Bobby Darin, I have heard nothing but great things about this. Now that tickets have gotten more reasonable, and that Jeremy Jordan is leading the company, I hope to splish splash my way to the Circle in the Square before the heat gets too overwhelming!

The Lost Boys (Palace Theatre) Return Visit!

I loved it. I'm obsessed with it. I must see it again. I want to catch everything I missed the first time - you can't look everywhere all at once. And I want to savor some favorite moments all over again. Mostly, I look forward to hearing the stunning vocal harmonies performed live by this amazing company.

Review: West Side Story

Review of the Saturday, May 9, 2026 matinee performance at the Lyric Opera House in Baltimore, Maryland. A production of the Washington National Opera Company. Starring Ryan McCartan, Shereen Pimentel, Taylor Harley, Amanda Castro and Yurel Echezarreta. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Original conception, choreography and direction by Jerome Robbins. Set design by Peter J. Davison. Costume design by Jessica Jahn. Lighting design by A.J. Guban. Sound design by Andrew Harper. The Washington National Opera Company Orchestra conducted by Marin Alsop. Choreography re-created by Joshua Bergasse. Direction by Francesca Zambello. 2 hours, 45 minutes including one intermission. Production continues through May 15th at The Music Center at Strathmore in Bethesda, Maryland. NOTE: The production will be semi-staged (costumes and props, no scenery) at Strathmore. 

⭐️⭐️⭐️⭐️⭐️

Though we would never intentionally miss a production of West Side Story, especially a professional one, I have to confess that we attended this performance for more than our love for the show. We are fully in support of Washington National Opera's refusal to play at the Kennedy Center in D.C. under the current regime.

There are, of course, other reasons we wanted to see this. Regular readers know that this title is among our vary favorites in the musical theater canon. There are several Broadway folks involved in this production, including both leads and several other company members, not to mention the choreographer and director. Perhaps most specifically, we were interested in seeing how an opera company would influence the presentation. Finally, we are big fans of the renowned conductor, Marin Alsop.

So, how was it? In a word: Fantastic!

This production, save for some of the design elements, is about as traditional a West Side Story as I've seen. It is even more traditional than even the 2009 Broadway revival. The score, played by the glorious 50-piece Washington National Opera Company Orchestra, is so lush and full bodied. It reminded me of the original movie scoring. Even the scene change music is intact! Every song, every dance number - including the gorgeous "Somewhere Ballet" - is joyous to listen to. Literally, it was music to my ears. As a fan of this iconic masterpiece, hearing this was a rare privilege, one for which I am very grateful.

While in the context of grand opera, the scoring & orchestra size/quality, might be expected, I was very interested in how a Broadway musical would play as an opera. I never doubted that the singing would be less than superb (it was), I wondered how it might sound in this context. Though some of the singing was less "character-y" than normal - the stereotypical New Yawk affectations of the script aren't hit quite as hard as usual - and some of the notes in the the ballads are held a smidge longer that usual, none of the differences come at the expense of meaning or characterization. In my limited experience with opera, I have found that many times the acting takes a back seat to the singing. Not the case here, at all.

  

Under the direction of Francesca Zambello, the production is fast-paced, and taut in all the right places. The exuberance of "America" and "The Jet Song," for example, serve as sharp counterpoint to the tension of "The Dance at the Gym" and "The Rumble," as well as the dramatic heights of "Tonight" and "A Boy Like That/I Have a Love." What is remarkable about her direction is how she manages to use the enormous stage fully, and yet makes it all feel so intimate.  Broadway's Joshua Bergasse has taken on the monumental task of re-creating the legendary Jerome Robbins choreography, and done so successfully. The Jets, Sharks and their girls here are very capable, and are at all times exciting to watch. "The Dance at the Gym," "Cool" and the "Somewhere" ballet were particularly thrilling.

In terms of design, there are some interesting choices here: the main set - huge and imposing - designed by Peter J. Davison, is an interesting mix of urban decay, 50's style and Roman/Italian arches, perhaps a nod to Romeo and Juliet? While A.J. Guban's lighting is relatively utilitarian, there are beautiful moments of light washes and equally ominous dark shadows. Andrew Harper's superb sound design was perfection, particularly the balance between the orchestra and the actors. This is no small feat, considering the enormous cavern that Baltimore's Lyric Opera House is. The most unique design element here is Jessica Jahn's costume design, which is both traditional in its use of opposing color palates for the Jets and Sharks, and non-traditional in its style. Everyone is in non-specific modern dress. Picture Adidas jogging pants, jeans, modern sports team jerseys and jackets, leggings and crop tops, and an array of modern footwear like high top Nikes, Vans and the like. The differences between the two factions are still easily discernible, yet somehow they seem more equal and, importantly, timelessly everyman.

As great as all of that is, the cast is even better, from top to bottom. All of the gang members are high energy and intense, each excellent at gelling as a unit while creating individual characters. Standouts include Arcadian Broad (Baby John), Brendan Yeates (Diesel), Madison Hertel (Anybodys) and Emily Snouffer (Graziella). As the primary adults, Wynn Harmon's Doc is the perfect mix of world-weary and terrified, and Zachary Owen's Lt. Schrank is excellent at being an all too familiar mouthpiece for ignorance, anger and prejudice.

The principal cast has a lot to live up to, and boy, do they! Yurel Echezarreta's Bernardo is a coy young man with something to prove, cloaked in an interesting bravado and provocative arrogance. At times, I thought he was being a bit...sassy, but he made it work. Equally headstrong, but with an undercurrent of naivete is Taylor Harley's Riff, who is probably the best sung Riff I've ever heard. Everyone's favorite diva, Anita, is marvelously rendered here by Amanda Castro, who is a smaller woman with a giant presence. A ton of sass and strength, with a satisfying amount of vulnerability, she sings and dances the role with an endearing urgency. I'm certain Chita Rivera would approve.

Of course, West Side Story all but requires a Tony and Maria that you not only root for but care about and truly believe. Shereen Pimentel is a stunning Maria, headstrong and no shy violet from the get go, you see immediately why Tony could be head over heels at first sight. Her soaring soprano is breathtaking, and her final scene will break even the coldest of hearts. (She was out the day we saw the 2020 Broadway revival, and I am so happy we finally got to see her.) For me, though, Ryan McCartan was the find of the show. I'm not sure anything I could say here could completely capture how amazing his ill-fated Tony is. His "Something's Coming" is joyous, and his "Maria" is a true revelation. What a voice! What a belt! He is utterly charming from his first line, and even though his tragic end is a given, I found myself hoping that somehow, someway, he'd survive this time.

This production is proof positive that a traditional West Side Story is still relevant as is. Those things that are problematic actually serve the point these days. The stereotypes and language are perhaps even more relevant today, given the current climate in our country. And yet, it still provides hope that we will find our way back to a more civil way of life, and from there, celebrate what makes us different instead of dividing us.

📸: Elman Studio

Friday 5: 5 Favorite Classic Musicals of the 1950s

5 Favorite Classic Musicals of the 1950s 

A few Fridays ago, we talked about 5 classic plays that have stood the test of time and remain as entertaining and relevant as ever. When I tried to make a list of just 5 classic musicals, I came up with about 50, So, instead, I decided to cut off the time period to just the 1950s - we can always look at other decades another time. As it is, I can think another 10 shows from that period that also have staying power and influence the genre still.

  

5. Damn Yankees (1955): The very definition of musical comedy, I named this one as a reminder that a novel-based musical can be clever and timely and be about an unlikely topic. In this case, baseball... a sport... it makes me feel like a jock. It also brought the world such classics as "(You Gotta Have) Heart" and "Whatever Lola Wants," and a great - if extra and nonsensical - dance number, "Who's Got the Pain?" And special thanks to Bob and Gwen! Firmly rooted in its own time - was it the Rent of its day? - it still holds up. 

  

4. Guys and Dolls (1951): It's hard to imagine a Broadway musical list of any nature that doesn't include this Frank Loesser gem. Very much of its time - ballet sequences (production numbers of yore), a romantic couple, a B-plot comic couple, larger than life characters, and a twisty plot that ends up with everything just as it should be - Guys and Dolls is the cream of that classic crop. This masterpiece had brilliant performances of Grade-A material and a practically perfect score. Decades from now, this will still be produced and revered.

  

3. My Fair Lady (1956): One of the great musical partnerships of all-time, Lerner and Loewe, created one of Broadway's longest-running and oft-produced shows. Though the book is pretty much Pygmalion verbatim, the Shaw classic seems even better with the addition of musical numbers. And what a doozy of a song list! It boasts such timeless songs as "Wouldn't It Be Loverly?", "I've Grown Accustomed to Her Face", "The Rain in Spain", "Get Me to the Church in Time", "On the Street Where You Live" and "I Could Have Danced All Night." 

  

2. South Pacific (1950): The writing team of Rodgers and Hammerstein is synonymous with ground-breaking musical theater. Sure, their 40s show, Oklahoma! is credited with advancing the art form, but I think South Pacific is their biggest achievement. Exotic locales, a tribute to the heroes of World War II, an epic love story, and a controversial social message combine to make this one a cut above the rest. Is it any wonder it won the Pulitzer Prize For Drama? The ballad, "Some Enchanted Evening," is top tier, and you can't beat such show-stoppers as "I'm Gonna Wash That Man Right Outa My Hair" and "There Is Nothing Like a Dame." But it's "You've Got to Be Carefully Taught" that remains as relevant today as it was nearly 75 years ago.

  

1. West Side Story (1957): Perhaps one of the biggest leaps forward in the genre in the Golden Age, is Jerome Robbins and Leonard Bernstein's masterpiece based on Romeo and Juliet, a timeless classic in its own right. With racism, gang violence, and social injustice at the forefront, the team further pushed the envelop with a completely danced overture/prologue, gritty realism and violent murder as hallmarks of the production. Its influence is still felt today. Oh, and it introduced a young hot shot lyricist named Stephen Sondheim to the world. 

Play It Again: West Side Story's "Something's Coming"

Play It Again:

West Side Story's "Somewhere"

For this new series, Jeff has invited me to choose some classic Broadway show tunes and compare versions of these songs from several different cast recordings. Wherever possible, I’ll link to the songs on YouTube, where I listen to most of them myself.

This week’s entry considers five recordings of the classic “Something’s Coming” from Leonard Bernstein and Stephen Sondheim’s West Side Story. The first of several rather introspective songs for Tony, it foreshadows the world-changing events, good and bad, that will befall him in the next couple of days. A true collaborative effort, Sondheim’s lyrics borrow heavily from book writer Arthur Laurents’ descriptive sketches for the scene, while Bernstein’s setting of the trippy 3/4 opening section was in turn suggested to him by Sondheim.

These five versions are mostly identical in terms of music and lyrics, with only the last few measures attesting to some subtle tinkering over the course of 64 years. They do, however, differ markedly in orchestration and in each vocalist’s approach to the song. I ended up awarding a tie for my top choice here, as the original boasts an almost miraculous vocal delivery, while the first film soundtrack features a merely great performance backed by top-notch sound and orchestration. With one surprising exception, all of them are sublime listening experiences.

My overall favorite version is marked with two stars (**); one star (*) is used to indicate that a particular version stands out in terms of singing, orchestra, sound, or other miscellaneous qualities. 

**ORIGINAL BROADWAY CAST (1957) - YouTube

Tony: Larry Kert

*SINGING: I’m not one for thinking that the original is always the best, but Kert’s otherworldly vocals set an extremely high bar for this song. His tightly controlled delivery, with joyful outbursts barely restrained by the character’s cerebral tendencies, puts the listener right into Tony’s head space. It’s certainly a performance for the ages.

ORCHESTRA: The original orchestration is surprisingly spare compared to later entries, with its simple percussive brass, woodwind touches, and dynamic string section. 

SOUND: One of producer Goddard Lieberson’s masterly 1950s recordings, the sound is extremely clear and atmospheric. The balance is tilted a bit towards the vocalist for my taste, but most orchestral details are still distinct.

MISCELLANEOUS: This original version has a rather mysterious ending, with a single repetition of “maybe tonight” ending on a level note with no real musical conclusion to the song. 

**MOTION PICTURE SOUNDTRACK (1961) - YouTube

Tony: Jimmy Bryant

SINGING: Bryant’s approach is similar to Kert’s, and the results are almost as satisfying. He takes the melody a step lower than his predecessor (and most of his successors), and he transitions a little less smoothly between calm and unbridled joy, but he still manages to deliver masterful vocals with a natural simplicity befitting the character.

*ORCHESTRA: The orchestration builds organically on the original, adding a few extra layers of detail and a noticeably fuller string section that playfully jostles with Bryant’s vocals. Uniquely, this version of the song ends with a lovely extended woodwind flourish that really earns this one the star. 

*SOUND: This is an extremely clear recording, with the brass prominent but not obtrusive, and a good balance in general between singer and orchestra.

*MISCELLANEOUS: This one features the best ending, with the repetition of the last line culminating in one final ascending “tonight,” chillingly anticipating Tony’s duet with Maria. The above-mentioned woodwind melody that brings the track to a close is subtle but satisfyingly conclusive. 

STUDIO CAST RECORDING (1984) - YouTube

Tony: José Carreras

SINGING: Carreras can obviously sing the notes perfectly, but he’s not a great actor, and this interpretation lacks the range and nuance of the others. There’s a bit of an issue with diction, too, especially in some of the more quickly delivered lyrics. Opera singers have been hugely successful in certain musical theater roles, but this is just not a good match of performer and character.

ORCHESTRA: This recording introduces a notably busier orchestration, which is basically retained in subsequent versions. In particular, the brass section is much more aggressive, inserting little outbursts that reflect the Jets’ characteristic dissonant themes. It’s not that I find this inappropriate or intrusive, but I prefer the more limited elaboration of the earlier film soundtrack.

SOUND: Generally fine, but slightly muddy in some of the louder parts, with singing and orchestra blending together.

MISCELLANEOUS: The ending is similar to the original recording. Given that Bernstein conceived of and conducted this version, it’s a surprising misfire for me overall. 

BROADWAY REVIVAL RECORDING (2009) - YouTube

Tony: Matt Cavenaugh

SINGING: Cavenaugh’s approach is decidedly different from the others, rather actorly and tinged with more modern-sounding pop touches. It’s a legitimate choice that I am certain worked well on stage, but his voice occasionally sounds a bit too nasal and the vibrato too aggressive for my taste.

ORCHESTRA: The orchestration is very similar to the studio version just discussed.

SOUND: Generally excellent with good balance, perhaps a bit less detailed than a couple of the other versions.

MISCELLANEOUS: The ending features the repetition of “maybe tonight” with the ascending final note, this time with a dramatic brassy button to bring the song to a close.

MOTION PICTURE SOUNDTRACK (2021) - YouTube

Tony: Ansel Elgort

SINGING: Elgort’s approach marks a return to the sensibility of the earlier stage and film versions; his voice has a simple retro feel to it that fits the character like a glove. He sings the song in a much lower key than the others, and of course he can’t match a Larry Kert in terms of vocal purity, but he makes up for it with an abundance of charisma and personality. 

ORCHESTRA: The orchestration is similar to the other latter-day versions, with very active brass and percussion, but sounds slightly more restrained here, perhaps due to the huge size of the ambient orchestra.

*SOUND: Like the earlier movie soundtrack, the sound of this one is pretty much perfect. Great attention was obviously paid to making every word and every note completely distinct.

MISCELLANEOUS: The ending combines the now-standard high note on the final “tonight” with the inconclusive fade-out of the original recording.

 

At This Theatre: The Palace

Perhaps the most internationally legendary of all of the current Broadway theaters, the Palace was built in 1913 as a vaudeville house by impresario Martin Beck of Orpheum Circuit fame. From the 1930's through the early 1960's it was a movie theater. Then, in 1966 it was re-opened as a legit house with Sweet Charity starring Gwen Verdon. Over the past century, "playing the Palace" has been a goal for many aspiring performers. Legends have played here: Eddie Cantor, Betty Hutton, Bob Hope, Danny Kaye, and both Judy Garland and her daughter, Liza Minnelli. And several legendary shows played here as well, including Applause, Woman of the Year, La Cage aux Folles and AIDA. These days, you can't see much of the grand old theater, as it is currently undergoing a (literal) face lift and renovation. Soon, though The Palace will once again take its place among the greatest theaters on Broadway.

At This Theatre:

The Palace

# of shows we've seen here: 10

The shows we've seen here: AIDA, An American in Paris, Annie, Beauty and the Beast, La Cage aux Folles, Legally Blonde, Priscilla Queen of the Desert, Sunset Boulevard, West Side Story and The Will Rogers Follies

Our Favorite Shows Here: The Palace may be the only Broadway house where every show we've seen there ended up being among our favorites. Narrowing it down to our five favorites is nearly impossible, let alone ranking them, so here are five in alphabetical order:

Beauty and the Beast: Broadway had never seen anything like it at the time Disney made its Broadway debut. Not only did they bring a beloved animated classic to life on stage, they expanded it and somehow made it better. Lavish doesn't even begin to describe the magic of every aspect of this production. For me, this is the best they've presented - including The Lion King.

La Cage aux Folles: Back in the day, this triumphant Jerry Herman classic caused quite the stir - threats were made, picket lines were formed. You'd have thought it was today. A beautiful, powerful and outrageously funny show, it managed to be hopelessly old-fashioned and refreshingly modern all at once. I'll never forget George Hearn's triumphant "I Am What I Am." The stuff of legend.

Legally Blonde: Of all the many, many movie-to-musical shows, this is one of our favorites. Like Beauty and the Beast, this one took the film and expanded it in creative and surprising ways. It helps that the cast was completely delightful. But the book and score were just as great, too. Pure entertainment!

West Side Story (2009): Despite being a virtual copy of the original production, this revival soared. Jerome Robbins' stunning choreography was breathtaking, and the performances were equally thrilling. It was a wonderful opportunity to see a classic.

The Will Rogers Follies: Oh how I miss Tommy Tune. His style and endless creativity is missing on Broadway these days. This one was a jaw-dropper - the dancing, the concept, the visuals. And you can't beat a Cy Coleman-Betty Comden-Adolph Green show! Keith Carradine, Dee Hoty and Cady Huffman were charming and delightful.