By Steve Crum
“It feels fresh,” said lyricist Stephen Sondheim about the new and in several ways improved West Side Story, shortly before he died on Nov. 26.
Sondheim is so correct.
It is undoubtedly a sacrilege to many fans saying that 1961’s musical film classic, West Side Story, is imperfect in any way. But casting actual ethnic actors and actual singers (Rachel Zegler and Ansel 
Elgort) in the leads is smart and impactful. Sorry about that, Natalie Wood and Richard Beymer, whose voices were dubbed in the original. The fact that virtual unknowns Zegler and Elgort—notice their un-Hollywood-like names—can really sing AND act is double dose effective. They are terrific.
Just as impressive are Ariana DeBose as Anita and David Alvarez’s Bernardo. Dynamite talents.
The “freshness” Sondheim references also includes songs being sung in different settings and slightly more naturalistic choreography—adapted by Justin Peck. Reportedly, Peck’s choreography is not a replication of Jerome Robbins’ original.
Before fleshing out the uniqueness of this Steven Spielberg-directed take, realize that the source material is still driven by Leonard Bernstein’s music, Sondheim’s lyrics, and Arthur Laurents’ book. (Screenwriter Ernest Lehman adapted the ’61 film.) Yet another adaptation is Bernstein’s original score, arranged by composer David Newman.
It all began with the 1957 Broadway show, which successfully transformed Shakespeare’s Romeo and Juliet into a story about two New York City inner city gangs in 1957. The Jets (whites) and the Sharks (Puerto Ricans) are enemies, and fiercely battle over their turfs. It is a simple premise given adrenalin 
when Tony (Elgort) of the Jets and Maria (Zegler) of the Sharks fall in love with each other. It is a lethal no-no.
Spielberg and Kushner establish setting and time in the opening by showing ruins of tenement housing backing a sign declaring this is the future home of Lincoln Center. A particularly jarring camera shot is taken behind a large wrecking ball, as our view moves around it to see more distant rubble.
Cut to the Sharks as they invade Jet territory to do some paint vandalism, followed by a face-off with alerted Jets. The police soon arrive, led by Lt. Schrank (Corey Still), to stop the chaos. His speech to both gangs has 
racist overtones (“spics”), clearly directed to the Puerto Ricans. Of course, police vs people of color is still a hot topic.
Overall, Kushner’s screenplay echos the Broadway script more than the 1961 movie. Rita Moreno, who won an Oscar for portraying Anita in the ’61 version, here plays Valentina, widow of Doc the candy store owner. (She runs it now.) Noticeable in this version is that many Puerto Ricans speak—now and then—in their native language, and without subtitles.
Two changes are really applause worthy, the first being that instead of performing the rousing “America” on a rooftop, it takes to the wide open streets of the Sharks’ neighborhood. The number is even more of a standout. Secondly, I loved the color and cleverness of setting the lively “I Feel Pretty” number inside Gimbels Department Store. (Maria and friends work there nights as cleaners.) Even Windex is part of the choreography!
Be aware that this is 2021, and the rumbles are more graphically violent.
But at its heart, West Side Story is a tragic love story. I still teared up at its poignant conclusion.
Spielberg’s reimagining is a must-see and a will-love.
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GRADE on an A-F Scale: A