Review: West Side Story - Newbridge Musical Theatre

Society Name: Newbridge Musical Theatre

Show Name: West Side Story

Date of Attendance: 7th April 2026

In the musical theatre canon, there are few shows that have been as impactful as West Side Story. It broke the mould in 1957, combining its breathtaking score and choreography with its narrative of violence, division, and prejudice. Almost seventy years later, it still feels strikingly relevant. Its themes of racism and hatred still resonate with audiences today. Of course, at its centre remains a love story which dates back to Shakespearean times, a tale of ‘star-crossed lovers’ trying to survive in a world determined to tear them apart. Newbridge Musical Theatre took on this iconic show for the second time in their forty-five-year history with great ambition and a very clear understanding. This was a thought-provoking and visually impressive production, with extremely strong technical work and many standout performances. The commitment and work that had gone into every element was clear to see, and the overall result was a superbly produced production of this timeless classic.

There was a real sense of occasion upon entering Newbridge College Theatre. Front of house staff were warm, friendly, and efficient, helping to create a very relaxed and welcoming atmosphere. The formal dress worn by front of house personnel added a real touch of class. The foyer had also been very nicely decorated, with photo displays, American flags, and a red, white, and blue colour scheme all helping to set the scene. The auditorium was packed and the sense of anticipation and excitement was palpable. The inclusion of clear trigger warnings in the pre-show announcements was a welcome inclusion. Given the violence, gunshots, and strobe lighting involved in the production, this was both responsible and important.

Cian O’Dowd directed with a very confident and assured hand, ensuring a superbly strong pace throughout. One of the great strengths of this production was the sense of life on the stage. The ensemble work was particularly impressive, with excellent, natural interactions between the gang members. The space was used very well and never felt cluttered, in spite of the large cast. Collaboration between direction and stage management was exemplary. Scene changes became part of the storytelling, with cast moving furniture, props, and set pieces in what were incredibly slick, choreographed transitions. Mr. O’Dowd also had a strong eye for detail. Gang members smoking, Anybodys’ shirt hanging out, and the spontaneous-feeling interactions between ensemble members all helped to create a very real world. The emotional, conflicted dynamic between Anita and Maria in ‘A Boy Like That/I Have a Love’ was also superbly handled. Overall, this was extremely creative, intelligent direction from Mr. O’Dowd, which showed very strong understanding of the themes and a wonderful sense of pace throughout.

Áine Foley did some excellent work in what is an enormously demanding show for a choreographer. One of the strongest aspects of her work was the way movement was tied into the storytelling. Right from the prologue, the choreography helped to establish the aggression, tension, and animosity between the Jets and Sharks. The ‘Dance at the Gym’ was full of life, excitement, and energy, danced with sheer abandon but never losing the underlying rivalry and tension between the two gangs. ‘America’ was another standout, bursting with colour and excellent performance levels. The Latin rhythms and energy of the score were embraced beautifully by a particularly strong group of dancers, and the final picture was very strong. There was also very good work in ‘Cool’, where the choreography captured the pent-up anger, frustration, and anxiety of the Jets so well. The ballet sequence and ‘Somewhere’ were light, playful, and dreamlike, with lovely storytelling throughout. ‘I Feel Pretty’ included additional groups of girls on either side of the main action and, while this was a nice way of involving more ensemble members, I did feel that it pulled focus slightly from Maria and the central action. On the other hand, ‘Gee, Officer Krupke’ was full of sharp comic timing and chaotic energy from the Jets—a standout moment of the show. Overall, this was very strong work from Ms. Foley, who collaborated wonderfully with her fellow production team members and understood the importance of movement as a storytelling tool in West Side Story.

Dave McGauran’s musical direction was excellent throughout. West Side Story is one of the most demanding scores in musical theatre, requiring exceptionally strong vocal work and an orchestra capable of handling Bernstein’s challenging rhythms. From the opening of the prologue, it was clear that the show was in very safe hands musically. The orchestra sounded superb with excellent precision throughout and exceptional balance and energy coming from the pit. ‘Cool’ was particularly impressive musically and its complex rhythms were handled with real confidence, helping to drive the frustration of the scene. Vocally, the production was consistently excellent. The ‘Tonight (Quintet)’ was especially strong musically, one of many musical highlights. ‘I Feel Pretty’ also featured lovely harmonisation and an excellent blend of voices. The standout musical moment of the evening, however, was ‘A Boy Like That/I Have a Love’. The work from orchestra and performers here was exceptional, and the emotional intensity built beautifully. Excellent work throughout from Mr. McGauran and all involved.

Gavin Molony was a gritty and extremely believable Tony. It can be tempting to play Tony as the romantic dreamer, but Mr. Molony was believable as a former gang member used to violence and aggression. That edginess made him feel very authentic and added to his struggle to leave that life behind. Vocally, Mr. Molony was outstanding. ‘Something’s Coming’ was sung with confidence and excitement, but it was in ‘Maria’ that he really impressed, confidently nailing that high B-flat towards the climax. His duets with Maria were also beautiful. ‘Tonight’ blended beautifully, while ‘One Hand, One Heart’ was warm and full of tenderness. Mr. Molony’s acting was top-notch too. He handled Tony’s emotional journey very well, especially after the rumble, where his desperation and heartbreak were so convincing.

Clodagh Donnelly brought a rather different interpretation to Maria, presenting her as more self-assured than is often the case. At times, I felt this reduced some of the vulnerability and innocence that can make Maria’s journey so affecting. That said, Ms. Donnelly was fully committed to her interpretation and brought great strength to the role. Vocally, she was excellent. ‘Tonight’ was beautifully sung, blending superbly with Tony, and ‘One Hand, One Heart’ showed off her lovely warm vibrato at its best. ‘I Feel Pretty’ continued the more assertive interpretation of Maria, presenting her as quite knowing and self-assured. While not entirely the direction traditionally associated with the role, there was no faulting Ms. Donnelly’s excellent vocal quality and confidence. It was in ‘A Boy Like That/I Have a Love’ that she truly came into her own dramatically. Her emotional intensity and vocal control were superb, matching Anita beautifully and helping to create the strongest moment, both dramatically and musically, of the evening.

Liz Stears was outstanding as Anita. From her first appearance in the bridal shop, this Anita was clearly in charge. She brought a confidence and authority that suited the role perfectly, while still allowing glimpses of warmth and humour to shine through. Anita’s journey was brilliantly portrayed as Ms. Stears balanced sharper, funnier moments with intense heartbreak and vulnerability. Vocally, she was superb. ‘America’ was one of the highlights of the evening, with Ms. Stears commanding the stage with exceptional presence and confidence. However, ‘A Boy Like That/I Have a Love’ was the true standout moment of the production, both musically and dramatically. The emotion pouring from Ms. Stears was extraordinary; every word showed her anger and disbelief. It felt utterly real. She was equally impressive in the harrowing scene at Doc’s drugstore. The attack by the Jets was deeply uncomfortable to watch, largely because her reactions were so real and heartbreaking.

Cormac Malone gave a strong and convincing performance as Bernardo. Mr. Malone is clearly an accomplished actor and he brought real authority and presence to his portrayal. He carried himself with great confidence and poise. His protective relationship with Maria felt believable and his scenes with Anita had great warmth and chemistry. Dramatically, he handled the confrontation scenes well, particularly during the War Council where his leadership qualities and disdain for Schrank were clear.

Daniel Ryan committed fully to the role of Riff. He brought great energy and focus to his portrayal. His relationship with Tony was particularly well established; their scenes had warmth and tension with a real sense of a shared experience and friendship which made the tragic events all the more heartbreaking. Mr. Ryan had excellent presence throughout. Vocally, he was very impressive, particularly in ‘Cool’, which he led with confidence, trying to steady the volatile Jets. A very solid and engaging performance overall from a very talented performer.

Tanya Gallagher was excellent as Anybodys. Her scrappy, tomboy manner was well-judged and her desperation to belong to the Jets was very well played. She brought tough physicality to the ensemble scenes, but there was also a vulnerability beneath her bravado. Her emotional reaction during the attack on Anita was particularly moving. The distress in her response was so believable and was genuinely heartbreaking. Superb characterisation throughout.

Chino is not the easiest role to develop in West Side Story. He spends much of the show on the periphery but becomes central to its tragic ending. Jaime Luna worked hard to give the character real purpose. His more reserved presence in the bridal shop contrasted well with the chaos around him. His strongest scene came after the rumble, where his emotional response to Bernardo’s death and Maria’s focus on Tony was very well played.

Conor Kilduff was wonderfully sincere and believable as Doc. His portrayal was very natural throughout, never overplayed. As one of the few ‘adults’ trying to bring calm to the chaotic world, Doc can easily become a quieter presence, but Mr. Kilduff made him a very real character. His calm restraint made his emotional outburst on discovering Anita being attacked all the more powerful. The anger and heartbreak felt like it came from a place of truth, affecting the audience in what was a real ‘pin drop’ moment.

Rory Chadwick brought an intimidating presence to Lieutenant Schrank. This was a portrayal that captured some of the darker themes of the show. Mr. Chadwick was gruff, aggressive, and hostile to those around him, with prejudice and underlying racism simmering beneath the surface. Overall, this was a strong and very believable performance.

There was excellent support from a very talented ensemble. John Mullen brought good presence and timing to Officer Krupke. Kevin O’Leary was very funny as Glad Hand, trying to organise the get-together dance. Orla Williams was one of the standout supporting performers as Rosalia. She brought a lovely ditzy charm to the role, without overplaying it, and was superb in ‘America’. Her vocal work was excellent throughout, but it was as the soloist in ‘Somewhere’ that she really shone, in one of the vocal highlights of the production. Ms. Williams was strongly supported by Bronwyn Goulding as Consuela and Hannah McGauran as Francisca, whose voices blended beautifully. Adam Trundle brought great comic timing as A-rab, especially in ‘Gee, Officer Krupke’, while Cian Dowling impressed as Baby John, showing himself to be a strong actor, although at times the character’s innocence and naivety could maybe have been pushed a little further. Mark Lehane, Michael Maguire, and Darragh Connolly all contributed strongly, particularly in ‘Gee, Officer Krupke’, with excellent comic banter and commitment. There was also lovely support from Caoimhe Cummins, Aédammair Maguire, and Eamon O’Callaghan in their respective roles.

There was very good work from the ensemble throughout. There was excellent energy and commitment from the cast, especially in the ‘Dance at the Gym’ and ‘America’. Ensemble singing was very impressive, particularly in the ‘Tonight (Quintet)’ which was excellent vocally. The dance numbers were well rehearsed and full of energy but, just as importantly, the ensemble members were always in tune with the narrative.

Sarah Hall and her stage management team worked superbly with Cian O’Dowd to deliver a production that felt exceptionally slick and professionally managed. The amount of movement involved was huge, but everything flowed smoothly. Cast members moved fencing, furniture, and set elements with precision, shifting from one location to another without ever breaking the rhythm of the piece. The transitions became part of the storytelling itself. Excellent work from Ms. Hall and all involved.

The set design worked extremely well to create a gritty, urban world. There was a suitable harshness to the industrial feel of the scaffolding and fencing. What impressed me most was the decision to use the rough back wall of the stage as part of the show’s world. This added great authenticity and texture. The hanging window units with built-in lighting were extremely effective. The fencing was also used brilliantly, allowing locations to shift fluidly from street to dance hall to alleyway. The balcony also fitted well into the overall look.

For me, lighting was the standout element of the production, and this was established right from the start as the audience arrived to an auditorium bathed in red and blue light. This motif was striking, with the hanging windows also glowing in opposing colours. The warm white light coming from Maria’s balcony window was a lovely touch, suggesting a lived-in space and creating focus for this important location. There were so many beautiful lighting moments. The dramatic red during the attack on A-rab was very striking. The transition into the ‘Dance at the Gym’ was cleverly handled as the audience was momentarily ‘blinded’. The backlighting after Tony first met Maria created one of the most beautiful pictures of the night. The silhouetted dancers, haze, and movement gave the moment a real dreamlike quality. The ‘Tonight (Quintet)’ continued the red and blue motif with excellent timing as focus shifted between groups and individuals. The subtle lighting changes in ‘A Boy Like That/I Have a Love’ also showed real attention to the emotional storytelling.

Sound design and operation were also in very safe hands. The orchestra sounded magnificent and was exceptionally well mixed. There was excellent balance within the orchestra and between pit and stage. Bernstein’s score is big and complex, but the orchestra never overwhelmed the singers. EQ levels and microphone settings had clearly been carefully considered, and dialogue and vocals were always perfectly audible. The ‘Tonight (Quintet)’ was especially impressive from a sound point of view, with multiple overlapping vocal lines and no missed cues. Sound effects were also well timed and appropriate.

Costumes worked very well overall with subtle coordination but a real sense of individuality within the gangs. The Sharks’ black shirts and coloured trousers gave a strong sense of group identity in the ‘Dance at the Gym’. In contrast, the Shark girls brought wonderful bursts of colour to the stage. I especially liked the attention to detail in the girls’ coloured shoes—a small touch, but a very effective one. The ballet sequence also featured striking costume work, with white dresses featuring red or blue bows around the waist. These looked beautiful under the lighting and tied neatly into the red and blue motif running through the production.

Props were well handled, with good attention to detail. The bridal shop was particularly well dressed, believable without being cluttered, and the authentic sewing machine was a lovely touch. Doc’s drugstore also worked well, with details such as the Coca-Cola bottles helping to reinforce the setting, even if nobody actually drank from them. This was not a particularly busy show for props, but everything used felt appropriate and nothing jarred.

Hair and makeup were also very well handled. There was good attention to detail in recreating the hairstyles and overall look of the era. The wig work was excellent, especially among some of the Puerto Rican women. Rosalia’s look stood out particularly well, adding to both the authenticity and personality of the character. Makeup was well judged throughout.

Newbridge Musical Theatre approached this production with real ambition and clear understanding of the material. It was a thoughtfully directed and visually striking production, filled with strong performances, superb musical work, and excellent technical execution. What impressed most was the attention to storytelling throughout. From the fluid scene transitions and great ensemble work to the stunning lighting and outstanding orchestral sound, there was great care and precision taken throughout. Overall, it was a most intelligent, atmospheric, and highly polished production of a show that is as relevant and powerful today as ever.

Pat McElwain

Sullivan Adjudicator 2025/2026