I attended the Korean production of West Side Story in 2023 with both excitement and a touch of apprehension. Tony is a romantic dreamer, a young man in search of a better life and love. From the very first lines, I was struck by the distinct resonance of Kang-hyun Park’s speaking voice, something I’ve always appreciated. When he sang "Something’s Coming," he surpassed even the polished YouTube recordings. It’s rare to hear a live performance outshine a studio version.

Being a long-time admirer of Leonard Bernstein’s music, I was especially anxious about iconic numbers like "Maria" and "Tonight." When you know the songs well, it raises the stakes for any live performance.

Park’s rendition of "Maria" reminded me of Aaron Tveit’s interpretation — clear, dramatic without excessive flair. He avoided over-stylization, singing with purity and emotional honesty. His lower register was rich and expansive, while the high notes were firm and resonant.

At times, even the quieter passages were delivered with such nuance that I felt new colors in music I thought I already knew well. His portrayal of Tony’s innocence and integrity aligned perfectly with both his vocal choices and acting.

The cultural translation of "West Side Story" to a Korean context is no easy feat. The life of immigrants and the discrimination they faced in 1950s New York is not something the average Korean audience would easily connect with. While viewers came expecting a modern "Romeo and Juliet," they were instead presented with complex social inequality, not just pride or rivalry between two houses.

The love story between Tony and Maria felt especially intense because it arose amidst tension, poverty, and youthful rebellion. In such a pressurized world, their bond felt like a lightning strike — fast, powerful, and inevitable.

The escalating conflict eventually drove Tony to desperation. His determination to stay close to Maria only grew stronger as tensions mounted. With Bernardo’s tragic fate, their love story was doomed. Tony’s death left Maria standing alone, but in that moment, forgiveness and compassion began.

The production ended with Tony and Maria running hand in hand to a more beautiful, conflict-free place, offering the audience a glimpse of hope amidst the tragedy.

The strongest element of "West Side Story" remains the music. Every number composed by Leonard Bernstein was a masterpiece of melody and orchestral harmony.

From "Something’s Coming" to "Maria," "Tonight," "America," "I Feel Pretty," "Somewhere," and "Mambo," the entire score stands as one of the most beautiful collections in musical theater history. These songs are regularly performed in concerts and continue to captivate audiences across generations.

The orchestra was excellent, preserving the rich textures and emotional nuances of Bernstein’s score.

For me, this production also carried a special personal connection. I had attended Leonard Bernstein’s only documented performance in Korea, when he conducted the New York Philharmonic in Seoul in 1979 at the Sejong Center for the Performing Arts. That concert left a deep impression on me, and hearing his compositions brought to life again in this musical added an extra layer of meaning.

The choreography was superb, reflecting the bold, athletic style that defines the original Broadway production. However, I noticed that while the individual ensemble dancers were talented, they did not always synchronize perfectly. This is understandable, given the difficulty of such complex group choreography. The male ensemble number in particular was slightly off rhythmically.

While Kang-hyun Park’s Tony was outstanding, the production faced challenges with the role of Maria. This musical is, in many ways, Maria’s show more than Tony’s, as her vocal demands are greater and her emotional arc more intense. Both actors who portrayed Maria struggled with the high notes, which was surprising given the otherwise strong vocal performances in the show. It felt especially strange and disappointing because the orchestra and ensemble provided such a solid musical foundation.

One bright star was Kim So Hyang (Sophie Kim) as Anita. She brought vibrant energy to every scene and sang with both power and clarity. Her dancing, especially her joyful performance at the curtain call, was infectious. Kim had previously performed on Broadway, and her experience clearly showed.

Despite the vocal challenges for Maria and some synchronization issues in the ensemble, the production delivered a heartfelt, musically rich rendition of "West Side Story.“

Kang-hyun Park’s Tony exceeded expectations, offering a fresh yet faithful portrayal that balanced innocence, passion, and tragedy. His ability to adapt vocal tone throughout the emotional journey — from optimism to sorrow — was masterful.

Above all, this production reminded me that even when cultural specifics may not fully translate, the core human experiences of love, prejudice, rebellion, and forgiveness remain universal.

"West Side Story" continues to resonate because of its powerful music, timeless themes, and the dedication of performers who bring these stories to life.