Review: West Side Story - Light Opera Society of Tralee

*Public Adjudication by Ciarán Mooney

Light Opera Society of Tralee

West Side Story

22^nd of November 2025

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As the audience entered Siamsa Tíre, sweeping red chairs and shadow-casting light revealed a fully realised set already drawing us into the world of West Side Story. Posters for the high-school dance and clotheslines around the auditorium subtly pulled us into the neighbourhood. The band sat ready to launch into Bernstein’s soaring score, while an eerily silent start created a hovering sense of foreboding. LOST, it turned out, were not one bit lost with this very good production. 

Gráinne O’Carroll’s direction gave the production a gentleness and naïveté not always present in modern tellings. Hard edges softened, revealing the innocence of teenagers trying to grow up and get by—while getting it wrong. Tony and Maria’s meeting in the gym felt like a dream, their whispers drawing us into the tenderness and secrecy of their union. The warmth within each community was palpable, with older characters showing that they genuinely cared for the younger generation. This softness made the tragedy hit harder, the deaths feeling more wasteful and affecting. Leaving the bodies onstage for the entire interval was a bold touch, allowing the audience to sit with the horror before Act Two began.

Maria and Anita’s Act Two duologue, though musically triumphant, might have benefitted from more physical expression to embody the tension between them. And while the Jets delivered energy, commitment and fun, the Puerto Rican sequences seemed a touch reserved. America could have been messier (in the right way) with more youthful exuberance and heat. Similarly, I Feel Pretty - beautifully rehearsed – might have needed that extra 10% of sass. The Tonight ensemble at the end of Act One was vocally excellent but visually static; a small adjustment in staging could have added dynamism. Still, these notes were minor within an otherwise very strong directorial outing by Ms Carroll. Character work was excellent, the pacing slick, the accents spot-on, the casting just right. The entire production felt secure and well-shaped under O’Carroll’s leadership.

Musical Director Aidan O’Carroll led with clarity, occasionally enriching the texture from the piano, and the balance between stage and pit was almost perfect. Softly spoken lines floated clearly over the orchestra. The only moment where underscoring distracted slightly was in the Act Two scene between Tony and Doc, likely something only noticeable from the auditorium. Beautiful singing featured throughout, with principals showing off impressive voices and the ensemble producing a rich, confident sound. Chorus Mistress Caitríona Fitzmaurice clearly had the ensemble in fine form.

Choreography by Aileen Murphy, drew firmly from the original West Side Story sentiment. The stylised fighting never tried to chase realism yet carried powerful symbolism, and the male dance sequences were genuinely impressive. Movements were sprawling and fully extended, filling the stage with dynamic shapes. One or two girls appearing late in Cool felt a touch artificial, but the number itself—complete with a breathtaking cartwheel—was a great achievement. The strong attack from the cast made the dance sequences consistently exciting.

Front of House extended the world of the show with a warm welcome and displays including photos and a mood board of period hairstyles, helping to set the tone. The set design embraced the classic West Side Story look: redbrick buildings with windows, balconies and fire escapes, laundry lines stretching into the auditorium, and flats evoking a dilapidated tenement district. Doc’s interior was convincingly established, and the gym decorations were appealing and atmospheric. The wedding shop, with mannequins, sewing machine and patterned wallpaper, felt authentically rooted in the era, while Maria’s bedroom was dressed in religious imagery and Puerto Rican pop culture. Using each side of the stage for these spaces allowed slick transitions, though one might wonder whether placing Maria’s room stage right would have made more visual sense. Still, the speed with which she appeared at the balcony was impressive. Stage management by Alex Hindmarsh was smooth and unobtrusive. The gym décor flew in and out with slick efficiency, and Doc’s shop, symbolised by tables, chairs and a jukebox, appeared with ease.

John Hurley’s lighting brought gorgeous touches throughout. The gym sequence glowed with moody atmosphere, Cool washed in appropriately chilled tones. The two bodies at the end of Act One were hauntingly lit, and the petrol blue of the dream ballet was striking against the browns and beiges of the dancers, shifting into vivid reds for the fight. A subtle path of light guided Tony’s body in the final moments with great delicacy.

Sound design by Shane Murphy provided a near-perfect blend of whisper-soft intimacy and orchestral fullness. With many microphones and cues in play, the production never faltered. The sound contributed significantly to the overall softness and mood of the staging.

Costumes enriched the storytelling. The Jets’ cool denim and muted colours contrasted clearly with the Sharks’ rustic and vibrant palette. A-line dresses, ties and jackets set the gym scene beautifully, giving the choreography extra swish and shape. There were occasional inconsistencies - some lads felt firmly rooted in the era while others seemed more modern - but when it worked, it worked very well. Tony’s everyday costume could have evoked the period more, though his final white T-shirt captured the classic look.

Jamie Cleary Lynch as Tony was full of likeability and charisma and gave us a rounded character full of naturalism. He matched Maria beautifully with loving tenderness that made their ending all the more tragic. He was a good pal to his mates and a great help to Doc, making us all want him to survive at the end. Good breathing and support were evident, and one could tell that, as he produced warm round vowel sounds, that he had good training. He had all the ingredients for a pitch-perfect Tony. That said, seven shows in four days (yikes) and no alternate (unlike some of the other leads) meant that fatigue showed in those upper notes. I would have loved to have seen him earlier in the week and I’m convinced that it would have been an A+.

Jayda Kahraman as Maria met the role’s challenging soprano lines with a sweet voice, clear as a bell, giving her performance a gentle, appealing quality. Her nymph-like innocence early in the story felt authentic, and she transitioned nicely into a more mature, stoic presence at the end. The black-shawl exit underscored her growth, fulfilling the role’s emotional breadth with quiet, effective confidence. Her relationships with Anita, Tony and her friends all rang true, and I could have closed my eyes to listen to her sing. Well done.

Katrina Galvin’s performance as Anita seemed to get better and better as the evening went on, growing in confidence and emotional nuance. She met the role’s demanding singing and acting arc with increasing assurance, offering warmth, humour, and a touch of grit. Her work felt thoughtful and steadily impactful, becoming a strong anchor in the second act. Her decision to lie was well-earned and we felt the tragedy of it.

I do not need to comment individually on the singing and dancing from the Jets. Their work was consistently top-notch and meticulously rehearsed, and my congratulations go to all in this unit for their sock-it-to- ‘em show of unity and excellence.

Jerry Lynch as Riff delivered a consistently focused performance, meeting the role’s rhythmic precision and leadership demands with clarity. His physicality and vocals were well-measured, and his complete stillness during the interval showed impressive commitment to the role.

Liam Brick as Bernardo showed great presence, handling the role’s physical and acting demands with confidence. His strong, acrobatic work added excitement, while his stillness beside Riff during the interval created a tense reminder to the audience. He maintained a firm, composed authority throughout, supporting the Sharks’ dynamic with steady, well-shaped intention and clear physical control.

Jaidon Ward Barrett as Action brought an imposing yet spirited energy to a role requiring sharp timing and punchy vocals. He delivered a lively but controlled performance that suited the character well. He contributed humour and edge to the Jets, offering a reliable, engaging presence that kept scenes moving effectively.

Michalel Pingo as Chino delivered a restrained, heartfelt would-be suitor for Maria, balancing quiet loyalty with tragedy, grounding pivotal moments such as the visit to Maria with gravitas.

Elizabeth O’Shea as Anybody’s captured determined resilience, restless energy, and longing for recognition within the gang’s rigid world. Her characterisation and choices helped us feel that she neither fully belonged with the boys nor the girls, yet she stood firmly in her own self as her own person. Sean Slabys as Big Deal brought energetic swagger, mixing impulsive humour, enjoyable camaraderie, and credible street tension to enhance the scenes with his fellow Jets. Dan O’Connor commanded attention as Diesel, delivering disciplined force, solid leadership, and controlled aggression that shaped the Jets’ internal hierarchy. Denis Moroney portrayed A-rab with spirited humour and raw edge, balancing bravado and underlying fragility to deepen the Jets’ emotional presence. Sam Gleasure as Baby John gave us a touching innocence and nervous wit, capturing vulnerability, moral discomfort, and growth amid the Jets’ escalating conflict. Daithi O’Sullivan as Snowboy brought sharp energy to this character, blending quick wit, streetwise confidence, and reactive tension that heightened the Jets’ collective volatility.

Marcus Nolan was fantastic as Doc, embodying compassionate steadiness, moral clarity, weary wisdom, and human warmth that anchored the story’s escalating tensions. Almost Santa Claus-like with his white beard and rosy cheeks, he leaned slightly (and effectively) into the “village idiot” he pretends to be. It was an endearing and beautifully measured performance, capturing the weariness and frustration of this elder generation desperately hoping to knock some sense into those hell-bent on ruining lives. Very enjoyable indeed. 

Padraig Harrington as Shrank handled the acting demands with competent, no-nonsense authority, bringing the required tough-guy stance without pushing too far. His scenes felt solid and grounded, providing an adult counterweight that helped frame the youthful chaos. He offered a reliable, steady presence whenever he entered, supporting the dramatic tension and moving the plot along exactly as the role requires.

Jean Farrell as Rosalia sang and acted well and showcased a very good accent throughout. Noel King as Gladhand brought presence and experience to evoke the fuddy-duddy qualities of his teacher-trying-to-make-the-kids-see-sense role, offering an effective counterpoint to the surrounding youthful turmoil. Seán Lyons as Officer Krupke leaned into his Irish brogue to bring humour and adult wisdom to this gang of misguided youths. This casting of the more adult roles with age-appropriate actors brought a welcome texture to the evening. 

Ad-libbing from the ensemble cast in the opening sequences was very well-measured – not too obvious, with mere suggestions of slurs that established an unnerving creepiness. Accent work across the cast was excellent throughout, especially helpful in signalling the differences in cultural backgrounds. A good part of the ensemble work was provided by a hugely committed set of Jets. It was clearly evident how much work had gone into Gee, Officer Krupke and its competent delivery was a real crowd-pleaser. The singing by all during the Tonight sequence near the end of Act One was impressive. The Puerto Ricans never put a foot wrong in their moves or vocals, but a touch more convincing abandon would have really made these sequences hop off the stage. Characterisation in Cool was excellent, with zombie-like eeriness on show.

What stood out across the evening was the clear presence of a large, energetic and talented group of younger performers, both onstage and in the pit. This production was shaped with care and filled with strong performances, gorgeous design, and an intention to capture this tragedy of the story through soft and innocent eyes. This was a confident, affecting and beautifully realised production. It felt like a space where emerging talent could stretch itself, take on responsibility and shine. LOST’s West Side Story found tenderness, precision, atmosphere and genuine heart.