‘West Side Story’ embraces its operatic side in San Jose

More than 60 years since its world premiere, “West Side Story” remains one of the most significant works of the American musical theater. But according to artists preparing a new production at Opera San José, it’s also a natural choice for the operatic stage.

With its vibrant score, thrilling dance episodes, and timeless love story set amid warring gangs in New York City, Leonard Bernstein’s landmark work, which retells the story of Shakespeare’s “Romeo and Juliet,” was revolutionary when it premiered in 1957. It still has a lot to say about the immigrant experience, and OSJ’s staging promises a large-scale revival.

Directed by Crystal Manich, conducted by Christopher James Ray, and starring tenor Noah Stewart and soprano Teresa Castillo in the leading roles of Tony and Maria, the company’s first staging of this iconic American work opens April 16 at the California Theatre as the final offering of its 21-22 season.

Critics and audiences have long debated whether “West Side Story” is a musical or an opera. Bernstein said it wasn’t opera, but his urgent, dynamic score has been celebrated by top conductors, including Michael Tilson Thomas at the San Francisco Symphony, and Gustavo Dudamel, who conducted the score for last year’s film remake directed by Stephen Spielberg (the original film, co-directed by Robert Wise and choreographer Jerome Robbins, was released in 1961 and received 10 Academy Awards, including best picture.)

According to Opera San José general director Shawna Lucey, who programmed the work soon after being named to the company’s top post, “it absolutely belongs on the operatic stage.”

Opera San José’s production is distinguished by a number of cast and creative team members who have lived the immigrant experience. Manich, a Latina director and filmmaker based in Puerto Rico, for example, who says the musical is the quintessential immigrant story.

“Through all my experience with stage productions, the personal experience of being Puerto Rican has made me very excited to tackle this piece at this point in my career,” she said in a recent phone call. “We’ve talked about what it was to grow up Latina, and each person in the cast, even coming from different cultures, can relate. These are things that affect the way lines are delivered, the physicality of the staging.”

Castillo, a graduate of San Francisco Opera’s Merola young artist program who sang the role of Frasquita in Opera San José’s recent revival of “Carmen,” has looked forward to singing Maria ever since she first saw “West Side Story.”

“With this role, it’s hit after hit,” said the soprano.

With family roots in Costa Rica, Castillo, currently based in New York, said that rehearsals, with a large number of Spanish-speaking cast members, have been a delight. “It’s been great to be in the rehearsal room with so many Spanish speakers — people from Puerto Rico, Mexico, Cuba, Costa Rica,” she said. “I’m usually the odd one out.”

Maria, she adds, is a character “with a lot of layers.”

“We always see a very sweet Maria, but I see her as someone who wants her own life, to make her own decisions,” she explained. “Her desire to be independent is weighed down by cultural expectations. She wants to break away from that, and that shows a lot of strength.”

Bernstein’s score combines operatic flights, such as “Maria” and “Somewhere,” with other numbers, like “Gee, Officer Krupke,” solidly in the musical theater tradition.

For Castillo, who believes the show is operatic, those stylistic shifts are thrilling.

“There are definitely operatic moments in it,” she said. “You can call it a crossover piece — it has elements of both. But you have to have an operatic voice for songs like ‘Somewhere.’”

“I used to not like Maria’s ‘I Feel Pretty,’” she added. “But now I see it’s necessary. And her last duet with Anita is so powerful — it shows the real strength that Maria has, that she isn’t a child. She’s been forced to grow up very quickly. But, despite it all, she chooses to believe in love.”

Tenor Noah Stewart, another rising star who sang the role of Don Jose in the company’s recent “Carmen,” says “West Side Story” is a new experience – “my first foray into musical theater,” he said. “In school, ‘America’ was one of the first numbers I heard. Later, I fell in love with art song and opera. So ‘West Side Story’ is bringing back wonderful memories.”

Stewart, who grew up in Harlem, says the show plays out on the streets of New York in a familiar way. “Tony’s young. He’s discovering what his life could be, and he wants to do good. He sees that hate and violence go nowhere.

“Growing up, I heard someone say that one out of four would make it out of the ghetto. I’d think ‘no — I’m going to make it.’ But I could have been one of the kids who didn’t. It’s so easy to make a bad choice.” The show makes no mention of Tony’s father, he notes — Doc, owner of the bodega where the gangs hang out, takes that role for him.

Dance is a key element of “West Side Story,” and Stewart credits choreographer Michael Pappalardo, who is leading the cast through the dance episodes. “Unlike opera, where the curtain comes down, each scene is ongoing,” he said. “We all sing, dance, and act, and it’s so exciting to have so many people onstage. It’s vibrant — dark, gritty, and joyous.”

Contact Georgia Rowe at [email protected].

‘WEST SIDE STORY’

Conceived by Jerome Robbins, music by Leonard Bernstein, lyrics by Stephen Sondheim, book by Arthur Laurents; presented by Opera San José

When: April 16-May 1

Where: California Theatre, 345 S. 1st St., San Jose

Health & safety: Proof of vaccination; attendees are requested to wear masks inside the theater

Tickets: $55-$195; www.operasj.org