How Leonard Bernstein’s iconic work soundtracked my coming-of-age experience

The unmistakable sound of a whistle was all it took to fill me with excitement. “Nothing’s even happened yet,” my friend remarked, confused by my beaming smile as we watched the teaser trailer for Steven Spielberg’s West Side Story. But I knew exactly what was coming.

On December 10, audiences worldwide will rediscover, or perhaps encounter for the first time, what I believe to be one of the greatest musicals ever created. When I first heard about Spielberg’s remake, I felt a sense of dread. “They’re going to ruin it,” I thought. Some productions, in my view, should remain untouched—West Side Story being one of them. Others on my list include Titanic, Grease, and The Wizard of Oz.

But West Side Story is different for me—it’s personal. I can pinpoint the exact moment it became a part of my soul. At 16, I was cast in a local production of the show, landing the role of one of the Puerto Rican girls, which seemed like a natural fit for me. Until then, I’d had only minor roles in community theatre, but this musical would change my life. It became my coming-of-age story, as I went from being a stranger to a passionate lover of Leonard Bernstein’s masterpiece.

Written by Arthur Laurents, the musical takes the timeless tale of Romeo and Juliet and places it in 1950s New York City. Amidst the rivalry of two gangs—the Sharks and the Jets—Tony and Maria fall in love, much to the dismay of their respective communities. The drama unfolds as both sides do everything in their power to keep the two apart.

My introduction to West Side Story was through its music. Few composers do it better than Bernstein and Stephen Sondheim. Even those who’ve never seen the musical can likely recite lyrics from at least one song, most notably “I Feel Pretty”. For me, however, the entire musical is ingrained in my memory. I can sing every song, every part, and I often do, much to the annoyance of my colleagues, flatmate, and unsuspecting passengers on the Tube.

One of my fondest memories is performing the show’s most iconic ensemble number, “America”. A lively and cheeky anthem led by Anita, the song is filled with high energy and wit. Our performance, though smaller in scale than the famous film version, was equally vibrant. The girls and I spent hours rehearsing together, creating bonds that made every performance feel like a celebration.

At its heart, West Side Story is about love, friendship, and the desire to belong—universal themes that resonate with people of all ages. When I watch the film, I’m reminded of my youth, of finding my place in the world, with Bernstein’s unforgettable soundtrack playing in the background.

I believe Spielberg’s new adaptation will resonate deeply with today’s generation. After several years away from directing, Spielberg’s return to the helm of this musical seems more than just a decision to remake a film—it’s the fulfilment of a lifelong promise he made at just 10 years old when he first heard the soundtrack.

When I saw the 2021 teaser in September, I was taken aback by how closely it mirrors the original. The stunning cinematography, coupled with the song Somewhere playing in the background, evoked the same sense of excitement and heartbreak as the 1961 classic. From what I’ve seen, Spielberg’s version promises to be a beautiful tribute to the original.

Sometimes I wonder if West Side Story is truly as great as I remember or if my emotional connection clouds my judgement. But perhaps that’s the point: it’s a musical that stirs emotions, that feels both familiar and nostalgic. Its themes—both timeless and timely—still resonate today.

Is it perfect? No, nothing is. There are moments I would change, but despite its flaws, West Side Story has stood the test of time. Here’s hoping Spielberg’s 2021 remake does the same.

The acclaimed composer behind Sweeney Todd, West Side Story, and Into the Woods leaves a legacy that redefined Broadway

Stephen Sondheim, the legendary musical theatre composer and lyricist, has died at the age of 91. Known for his groundbreaking works such as Sweeney Todd, Company, and West Side Story, Sondheim is considered one of the most influential figures in 20th-century musical theatre.

F. Richard Pappas, Sondheim’s lawyer and friend, confirmed the news, describing his death as “sudden”. The composer had spent the previous day celebrating Thanksgiving with friends in Roxbury, Connecticut.

Born in New York in 1930, Sondheim was mentored by the iconic composer Oscar Hammerstein and composed his first musical at just 15 years old. His breakthrough came at 27 with West Side Story, a modern retelling of Shakespeare’s Romeo and Juliet, set against the backdrop of 1950s New York.

With a career spanning over six decades, Sondheim’s contributions to musical theatre include classics like Gypsy and Into the Woods. He is credited with elevating the art form, which had often been seen as light entertainment, to a respected and sophisticated genre.

Throughout his career, Sondheim received numerous accolades, including nine Tony Awards, an Academy Award, eight Grammy Awards, and the Pulitzer Prize for Drama in 1985. He was also honoured with the Presidential Medal of Freedom in 2015 by President Barack Obama.

Sondheim’s influence extended beyond the stage with several film adaptations of his work, including the 1961 Oscar-winning version of West Side Story. His ballad “Send in the Clowns” became a worldwide hit, recorded by artists such as Frank Sinatra and Judy Collins.

The news of Sondheim’s death comes just a month before Steven Spielberg’s highly anticipated adaptation of West Side Story is set to release in cinemas.

British theatre producer Cameron Mackintosh, best known for his work on Les Miserables and Mary Poppins, paid tribute, saying: “The world has lost one of its greatest and most original writers. But his legacy will live on through his legendary songs and shows, which will continue to be performed for generations to come.”

Sondheim’s work has left a lasting mark on the world of theatre, with tributes pouring in from stars such as Barbra Streisand, Andrew Lloyd Webber, Lin-Manuel Miranda, and Anna Kendrick.

In a final interview with The New York Times just days before his passing, Sondheim spoke about his health, stating, “Outside of my sprained ankle, I’m OK.” He also reflected on his enduring passion for his craft, saying, “What else am I going to do? I’m too old now to do a lot of traveling… What else would I do with my time but write?”

The cause of his death has not yet been disclosed.

Roman’s alliance with a controversial figure ignites debates about influence and morality

In Succession’s sixth episode, the Roy family navigates a high-stakes political retreat, underscoring their immense influence over the fictional political landscape of America. The episode critiques the unchecked power of billionaire media moguls while showcasing the internal dynamics and moral quandaries within the Roy dynasty.

Roman Roy finds himself drawn to Jared Mencken, a provocative right-wing figure with inflammatory rhetoric. Despite Mencken’s controversial views, including his slick promotion of aristo-populism and divisive ideologies, Roman’s desperation for approval from his father, Logan, leads him to champion Mencken as a potential presidential candidate. Meanwhile, Logan remains focused on consolidating his power, advocating for anti-tech policies and eyeing a “steady old plough-horse” candidate who aligns with his traditionalist views.

The episode also delves into the clash of old and new, with Logan’s anti-tech stance clashing with Roman’s digital savviness. Roman’s emotional turmoil escalates upon discovering his mother’s impending remarriage, pushing him to seek validation in his political manoeuvring. However, his actions highlight his underlying dependence on Logan’s approval, a theme hilariously juxtaposed against Connor Roy’s dismissed presidential aspirations.

The comedic interplay between Tom and Greg offers a lighter counterpoint. Their diner meeting, ostensibly to prepare for prison life, veers into absurdity as Greg worries about his height making him a target in jail. Tom’s new moniker, “The Christmas Tree,” adds to the humour, representing his willingness to bear the burden of others’ misdemeanours at Waystar Royco.

The episode’s sharp dialogue and character interactions capture the show’s unique blend of dark humour and cutting social commentary. Roman’s edgy banter with Mencken, Shiv’s horror at the implications of Mencken’s potential candidacy, and Tom’s cynical pragmatism reflect the deep entanglement of personal ambition and systemic corruption.

Ultimately, Succession continues to expose the toxic interplay between wealth, power, and morality, leaving viewers questioning the ethical cost of unchecked influence in media and politics.