Editorial: What brings audiences back to "The Nutcracker" year after year?

What is it that makes The Nutcracker so enduring? Is it the story? Is it the music? Is it the dancing? Or is it simply a holiday tradition?  Having danced in the show, learned variations in ballet class, and seen multiple productions since my first, at the age of four, I have always wondered what brings people back to the show and how it has turned into a special holiday tradition for so many. In an effort to discover why this ballet continues to be such a popular holiday tradition, I conducted a six question survey at a few local dance studios in addition to polling friends and family on social media. While some answers were expected others surprised me.

The Nutcracker ballet is based on the rather dark story entitled “The Nutcracker and the King of Mice” written by E.T.A. Hoffman in 1816. A lighter revision written in 1844 by Alexander Dumas, the well-known French author of “The Three Musketeers” is the version that most closely reflects what is now seen on stage. The famous music of the ballet entitled “The Nutcracker Suite” is by composer Peter Ilyich Tchaikovsky.  The Nutcracker was first produced as a full length ballet at the Mariinsky Theater in St. Petersburg, Russia in 1892. Since then, companies around the world have made it their own and added it to their repertoire. It is one of the most famous, if not the most famous, ballet in the world. Even if people have not seen a production of it, they have heard the story or know a little about the ballet.

For those readers not too familiar with the ballet, it is the story of a young girl named Clara, or Marie depending on the version being produced, whose family throws a holiday party for their family and friends at their home in Germany on Christmas Eve. The girl receives a special Nutcracker doll and later that night she dreams the Nutcracker comes to life, defeats the Mouse King, travels with her through an enchanted forest of snow to the wondrous Land of Sweets where they are greeted by the Sugar Plum Fairy. There they enjoy a magical celebration of dances performed by various sweets. Just as choreography may change depending on the company, other details vary within each production. Some change the names of the characters, while others vary the story itself to guide the audience into believing it was all a dream or that the young girl’s adventures did actually occur. Most do, however, continue to spark imagination, the thrill of movement and music, and the belief in holiday magic.

The first question I asked audience members was: What is your favorite part about attending The Nutcracker during the holiday season? The top response was tradition and dancing. Coming in a close second is that the ballet evokes for many that Christmas spirit feeling. Others love getting dressed up, seeing different dancer’s interpretations of the characters and listening to the rich music. Secondly, I asked how many times over the last fifteen years have they attended a production of The Nutcracker. Fifty percent of those surveyed have seen a production between eight and twenty or more times over the past fifteen years. An additional twenty five percent have attended a production between three and seven times. I then asked who they attend the production with and what the age range of the group is. The majority of people attend with family, while many others attend with friends. The age range of audience members attending, based on my survey, is between five years old and all the way up into the nineties.

Snow Scene of Boston Ballet's Nutcracker ©Liza Voll

The fourth question in the survey was: What is your favorite part of act one and why? Over fifty percent of people chose the Snow Scene at the end of act one. They described the scene as relaxing, sparkly, bright, beautiful, magical and powerful; with glorious music and stunning dancing. This scene has always been one of my favorites for all of the reasons described, but also because of its delicateness as the snow falls covering the stage and as the dancers turn and float across it. In addition, the Pas de Deux between the Snow Queen and King is simply mesmerizing to watch. The fun party scene at the opening of the act was a close second. The fifth question asks: What is your favorite part of act 2 and why? These answers were a bit more varied, but the top choice was predictably the Sugar Plum Fairy. This role is often labeled as an ultimate goal for ballerinas participating in a Nutcracker production. This dance was described as pretty, graceful, gorgeous and “such a coveted role that you really paid attention to her”. Other favorites in act two include the fluid Arabian, the powerful Russian, the funny Mother Ginger and the graceful Waltz of the Flowers and Dew Drop. Many audience members had a difficult time choosing just one routine because they enjoyed them all so much.

The sixth and final question was: What is the number one reason you return to The Nutcracker year after year? The top response was “it is a tradition I look forward to every year” and the dancing, of course, was another top reply. One answer that I believe ties them all together is: “To me, The Nutcracker has become a Christmas tradition. It is something that I share with family at the holidays and the show is a beautiful piece of art.” Another response which I received a number of times was, they like to support the performing arts and seeing talented dancers perform, all while spending time with their family during the holidays.

Both professional ballet companies and local dance studios put on yearly productions of The Nutcracker which makes it relatively easy to find a production nearby that fits your budget. Whether you’re a major ballet fan or a ballet neophyte, The Nutcracker is a great introduction into the ballet world; especially for young dancers. It is there they often fall even more in love with the artistry of ballet and their own dreams of dancing in the production begin. So this holiday season, if you’ve never seen a production live or you have a young child dancing around house I encourage you to find a production of The Nutcracker on a stage near you. You may once again believe in the magic of Christmas or even start a new tradition with your family and friends. ©

GEORGE BALANCHINE'S THE NUTCRACKER at The New York City Ballet. Photo © Paul Kolnik

 

"The Santaland Diaries" at Peterborough Players (Peterborough, NH)

Kraig Swartz as "Crumpet". Photo courtesy Will Howell

For over eighty years, Peterborough Players has been presenting professional theatre during the summer months. This year they have added a winter season with three plays taking the stage in December and February. Their inaugural winter season kicks off the holidays with a very entertaining one-man play entitled The Santaland Diaries. Directed by Gus Kaikkonen, it stars Kraig Swartz in the role of Santaland elf: “Crumpet”. Originally written by David Sedaris and adapted for the stage by Joe Mantello, it is the comedic true-life tale of Sedaris’ two-year stint as a Macy’s store elf. In the play, Crumpet recounts to the audience his experience as a Macy’s Santaland elf in the weeks leading up to Christmas. For audience members who have ever worked in retail during the holidays, or even gone to the mall and have witnessed the craziness that ensues, this play will hilariously bring back memories of all the delightful and horrifying aspects of the holiday season.

  

Designed by director Gus Kaikkonen and props designer Jessica Ayala, the simple, yet detailed set includes a Christmas tree, lockers, toys, a big chair and a large video screen that changes pictures depending on the scene. String lights hang above the stage as well as over the gift boxes and stuffed animals. It wasn’t hard to imagine Santaland as Crumpet describes it and tells us stories of his daily encounters.

Kraig Swartz has the wonderful ability to alter his vocalizations and characterizations to shift from playing Crumpet to a nasty Santa, an overbearing parent, a confused foreigner, misbehaving children and many more. He easily engages the audience and draws us into his story from the start. His performance is so realistic that he makes it easy to forget we are in a theatre watching a play. Swartz has spot on comedic timing and facial expressions that perfectly match each of the tales he tells. He delivered a highly enjoyable performance that had the audience chuckling throughout.

With each anecdote we find ourselves laughing because of the inalienable truth behind it. We have witnessed the scenes Crumpet describes, those filled with obnoxious children and intensely pushy parents. While the show is very amusing, it is also incredibly relatable and that’s what makes it a great adult’s night out. When you attend this production you’ll be able to sit back, relax, have a good laugh and maybe even leave the theatre with renewed holiday spirit. © This production is rated PG-13 and is not recommended for children.  The Santaland Diaries plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, until December 17^th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org

Review of “Going To See The Kid” at Merrimack Repertory Theatre (Lowell, MA)

In the opening scene of Steven Drukman’s new play “Going To See The Kid”, Ellis tells the audience that every story needs an angle. What she has yet to decide upon, is what angle her story on Red Sox legend Ted Williams will be. The play takes place in 2001 when Ellis and fellow journalist Simon, both from The Boston Globe, head out on a road trip from Boston to Florida to interview the ailing Ted Williams. The pair couldn’t be more different, and yet as their trip progresses they discover the value of empathy and teamwork.

Joel Colodner and Veronika Duerr. Photo by Meghan Moore

Directed by MRT’s Director of New Play Development, Alexander Greenfield, this cast consists of three MRT audience favorites who each have the natural ability to bring their characters to life in an interesting and believable way that instantly engages the audience. From the start we see their spirit, drive, passions and what makes them tick. All while chuckling at their feisty interactions. Dialect Coach Christine Hamel worked with the actors to authentically use specific accents. Veronika Duerr, as Ellis, spoke with the all too familiar Boston accent; making it clear to the audience her character was born and bred here. Both Joel Colodner and John Gregorio portrayed multiple characters, each with their own specific vocalization and flare. Their main characters of Simon (Colodner) and David (Gregorio) were more refined in their speech, and the way their speech differed from Ellis (Duerr) was intriguing to listen to. Each of them portrayed their characters wonderfully. Ellis was relatable, spunky and exhibited ultimate Red Sox fan passion; especially when relaying stats about her beloved team. Duerr’s portrayal was multilayered and evolved during the play. She wasn’t just a journalist who loved baseball, but also an educated woman trying to be a better wife and daughter. Simon was an older, wiser, more dignified journalist who spoke fervently about the arts and literature. His excitement regarding the Red Sox was more subdued and internal; especially when compared to Ellis. Colodner was polished and portrayed Simon as a wise mentor of sorts. David, Ellis’ husband, joins the pair on the road trip to Florida and is often a buffer when Ellis and Simon don’t see eye to eye; which is most of the time. Watching Gregorio portray David, in addition to a few other secondary characters, was fascinating as each had his own accent and mannerisms that completely separated him from Gregorio’s portrayal of the loving and supportive David.  

Photo Credit: (L-R) Joel Colodner, Veronika Duerr, John Gregorio. Photo by Meghan Moore.

Designed by Jason Sherwood, the set consisted of actual news stories from The Boston Globe printed on plexiglass boxes that were lit with LED lights that changed color depending on the scene. At some points they were all lit up while at other points only a small section was lit while the rest was dark. Lighting Designer    Brian J. Lilienthal was creative in how he used the light to exemplify or hide sections of the set. Both elements complimented each other nicely and were visually appealing. The addition of falling snow in the last scene really added to the holiday aspect of the production. It was enchanting while not distracting or overdone.

Written by lifelong Red Sox fan Steven Drukman, this play is a different kind of holiday show. Its spirit and message of hopefulness and the power of teamwork reminds us there is nothing that can bring people together like the shared love of their favorite sports team. At only ninety minutes this heartwarming comedy is the perfect show to bring your Red Sox loving family and friends to see this holiday season. If opening night of this world premiere is any indication, and considering how fast the audience was on their feet giving the performance a standing ovation, this show will sell fast so don’t wait to get your tickets. © “Going To See The Kid” is on stage at Merrimack Repertory Theatre (50 E. Merrimack St. Lowell, MA) until December 24^th. Tickets range from $70-$26 and there are discounts for seniors, students, military and groups. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.

Review: ‘Mame’ at Stoneham Theatre (Stoneham, MA)

Kathy St. George. Courtesy Stoneham Theatre

This Tony Award-winning Broadway classic centers on the incomparable Mame Dennis, brilliantly played by Kathy St. George, whose carefree life in 1920’s New York City unexpectedly changes when she becomes guardian to her 10-year-old nephew, Patrick. She introduces him to her exciting and unconventional world and together they learn the joy and love that comes from having a family. Wonderfully directed and choreographed by Ilyse Robbins this talented cast brings this fun and heartfelt story to life.

The set, designed by Katheryn Monthei, was black and white with two levels and featured sparkly stars and moon in the background as well as triangular columns that were rotated depending on the scene. Music Director Matthew Stern led the live seven-member band. Sound designer John Stone kept the volume of band well matched with the volume of the vocalists throughout the two and a half hour production.

The opening number, “St. Bridget”, was divinely performed by Ceit Zweil as Agnes Gooch, and Cameron Levesque as Young Patrick Dennis. Both had beautiful vocal tones and their higher notes were lovely to listen to. This number was a solid start to the show and set the barre high for the rest of the performance. The following number, “It’s Today”, showed that the rest of the cast was ready to give the audience a top-notch night of entertainment. “It’s Today” was very upbeat and celebratory and it was clear the cast was having a great time on stage. Their momentum continued with their energetic performance of “Open a New Window Parts I and II”, led by St. George and Levesque.

The choreography in the song “Mame” was especially well performed. It was clean, crisp and fantastically danced by the ensemble who were dressed head to toe in riding outfits. It was certainly one of the best numbers in the show. While everyone was cheerfully singing and dancing, young Patrick was off to the side silently coming to the realization that his Auntie Mame was getting married and thinking that this man was going to take his place. Levesque demonstrated acting skills beyond his years as he silently felt his world crumbling in front of him. His facial expression was full of uncertainty and sadness. As he started singing the act one finale, he was embraced by his Aunt in a way that let him know he would always be the main man in her life.

From the moment St. George stepped on the stage as Mame Dennis in “It’s Today”, she engaged the audience and kept them captivated by her charismatic performance for the rest of the show. Not only does St. George deliver passionate vocals, but incredibly sharp comedic timing and dancing that fully embodied her character. Her witty banter with Vera Charles, played by Mary Callanan, was highly amusing and thoroughly enjoyed by the audience; especially their rendition of “Bosom Buddies” that included tight harmonies and was humorously sarcastic. St. George’s interactions with Levesque are even more wonderful. They were perfectly cast in these roles and their relationship is realistic and genuine. “My Best Girl”, sung by the pair, is so sweet and tender sniffles could be heard from the audience.

Other highlights include a kick line in “We Need a Little Christmas” performed by Mame (St. George), young Patrick (Levesque), Agnes (Zweil) and Tanner (Robert Saoud) that received robust applause from the audience. Callanan’s powerful vocals shined in “The Moon Song”, just as Zweil’s shined in “Gooch’s Song”. Between them and St. George it was clear to see this show wasn’t short on talented female vocalists. Will McGarrahan, as Mr. Burnside, was the quintessential Southern gentlemen. His interactions with St. George were sweet and tenderhearted. St. George’s whole-hearted performance of “If He Walked Into My Life” was powerful and touching. One of the most hilarious moments in the show was when Levesque played bartender for Mr. Babcock (Sean McGuirk) by mixing him up a martini like a pro which generated chuckles and well deserved applause from the audience.

Kathy St. George as Mame is exquisite and her performance is not to be missed. This family-friendly musical is a beautiful reminder of the importance of family, love and a positive outlook on life. © Mame plays at Stoneham Theatre (395 Main Street, Stoneham, MA 02180) until December 23^rd. Tickets range between $20-$55 with discounts for Seniors and Students. For tickets or more information visit www.stonehamtheatre.org or call the Box Office at 781-279-2200.

Review of Boston Ballet's production of Mikko Nissinen's The Nutcracker

Mikko Nissinen’s The Nutcracker World Premiered in 2012 and is back again this year performed by the Boston Ballet Company, Boston Ballet II, and Boston Ballet School Students with approximately 150 dancers involved in each performance. Mikko Nissinen’s production is based on the libretto by Alexandre Dumas père, titled The Tale of the Nutcracker, which is adapted from E.T.A. Hoffmann’s story The Nutcracker and the Mouse King. Set in Germany in the early 1800s, The Nutcracker, is a story of a young girl named Clara, her family’s Christmas Eve party, and the adventure she has when her nutcracker doll comes to life.

                                                                                                            

Conductor Beatrice Jona Affron masterfully led the orchestra through the delightfully familiar music by Peter Ilyich Tchaikovsky. The set and costumes were exquisitely designed by Robert Perdziola and were pleasantly complimented by the lighting, designed by Mikki Kunttu. The detailed sets were all painted by hand and roughly three hundred and fifty costumes were made for this production to accommodate multiple casts. One hundred and eighty-two of those costumes appear on stage in each performance. Each was creatively designed to not only look stunning on stage, but also be fully functional for the dancer wearing it. Meticulously crafted, many costumes feature hand painted patterns and hundreds of jewels.   

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The prologue features Drosselmeier, expressively portrayed by Eris Nezha, putting on a Children’s Theatre performance in the town square. Minutes later the curtain opens to further to reveal the Silberhaus’ home and the Christmas Eve party they are hosting for family and friends. The interactions between siblings Clara (Delia Wada-Gill) and Fritz (Kao Chun) were nicely acted. They and the other children in the party scene were energetic, engaged in the story they were sharing, and demonstrated clean technique. There were a few instances however, where their smiles were not realistic and looked forced as if they were trying really hard to continue smiling throughout the scene. The adult characters, on the other hand, all exhibited more natural and cheery expressions. Drosselmeier brings larger-than-life toys to perform for the party guests and each was thoroughly enjoyed by the audience. Both Harlequin (Irlan Silva) and the Ballerina Doll (Ji Young Chae) were fantastic and their movements were spot on with the music. The audience gasped when the Bear (Lawrence Rines) emerged from his gift box and he quickly become one of their favorite characters.

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

As the Christmas tree grows and reveals the life size nutcracker, the amazed audience applauds the wonder before them. It is truly one of the most magical and stunning moments in the show. If the audience wasn’t engaged in the performance before that point, they certainly were now. Overall, the battle scene between the Mouse King, mice, baby mice and the Nutcracker Prince, soldiers, bunny and gingerbread man is amusing and action packed; though it is hard to focus on any particular part because so much is going on at once. The mice sneaking treats was adorable and the small gingerbread man being nibbled on by the baby mice and being saved by the bunny was a very cute interaction receiving chuckles and awes from the audience.

Seo Hye Han and Paul Craig as Snow Queen and King in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

Act one ends with the elegant and enchanting snow scene. The snow sparkled as it fell to the stage and little reindeer pulling a carriage carrying the Snow Queen and King appeared. The Snow Queen was beautifully danced by Seo Hye Han, who was partnered by Paul Craig as the Snow King. Their Pas de Deux was exquisitely magical. Their expressions were blissful and their dancing divine. The snowflakes, as a whole, all had sweet smiles on their faces as they gracefully floated across the stage. They danced completely in sync and were a spectacular end to act one.

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

Act two opens in the clouds of the Nutcracker Prince’s Kingdom. The Nutcracker Prince, played by Patrick Yocum, and Clara float into the Kingdom on a cloud and are greeted by the Sugar Plum Fairy and many members of the royal court. The Nutcracker Prince shares with them how Clara aided him in defeating the Mouse King and a special performance ensues to show Clara their gratitude. The first performance is an upbeat Spanish routine danced by Emily Entingh, Kathryn McDonald, Alexander Maryianowski, and Desean Taber. Next is an Arabian number that was supremely danced by Lia Cirio and Lasha Khozashvili. His entrance was incredibly strong and he continued to demonstrate his strength and power in his partner work with Cirio. In one moment they were flying through the air, in the next he was lifting her overhead as she extended her limbs into various positions. Cirio demonstrated exceptional flexibility, control and fluidity throughout. Their performance was easily a favorite of the night.

Lia Cirio & Lasha Khozashvili of Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The Chinese number was led by Ji Young Chae and Irlan Silva who nicely executed each jump and turn all while maintaining pleasant expressions. The highlight of Pastorale were the lovable bouncing little sheep who received an audible “awe” upon their entrance. While the trio of Florimond Lorieux, Diana Albrecht, and Maria Alvarez danced wonderfully, these sheep stole the scene for sure. Next up was Mother Ginger (Marcus Romeo) and her children who were an instant crowd pleaser. Romeo was fantastic with expressive facials and great character choices. The exuberant Russian routine led by Isaac Akiba with Mamuka Kikalishvili and Lawrence Rines was bursting with energy and power from start to finish. They consistently soared across the stage with numerous and fast jumps and turns. Akiba, a Boston native, was confident as he strongly executed a turning combination that got the audience cheering. By the end the audience broke out into thunderous applause for this powerful trio making it clear this was another of their favorites.

Boston Ballet's (L to R, foreground) Lawrence Rines, Isaac Akiba, and Mamuka Kikalishvili in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The gorgeous Waltz of the Flowers followed, led by Lead Flowers Lauren Herfindahl and Addie Tapp and the always graceful Ashely Ellis as the Dew Drop. The trio was lovely together and when joined by the other flowers it was easy to be enrapt in their performance. Their grande développé’s towards the end of the routine were high and executed in perfect unison. Ellis as the Dew Drop was dazzling and not just because of the sparkles in her costume. Her joyful facial expression and the way she glided around the stage with ease made it clear that she truly enjoys dancing and sharing this magical story with the audience.

Ashley Ellis as Dew Drop (in center) and Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The Grand Pas de Deux featured Misa Kuranaga as the Sugar Plum Fairy and Patrick Yocum as the Nutcracker Prince. They maintained great eye contact and moved together with perfect musicality. They were graceful with exquisite extensions and impeccably timed lifts. Yocum’s solo was strongly executed with sharp, clean lines and jumps that ascended off the floor. Kuranaga’s solo was flawless. Her footwork was precise and delicately executed. She maintained supreme balance and control and her turns were quick and clean, moving around the stage effortlessly. Their Pas de Deux was breathtaking and received roaring applause. The audience clearly loved this pair.

The finale was energetic and brought all the characters bursting back onto the stage including the strong Arabians with perfect double attitude jumps, the powerful Russian trio and the beautiful Dew Drop and Flowers. Overall, this performance was a glittering, majestic production full of holiday magic. This family-friendly holiday masterpiece is not to be missed and will certainly give you memories that will last for years to come. © Boston Ballet’s The Nutcracker performs all 43 performances at the Boston Opera House (539 Washington St, Boston, MA 02111) from November 25^th through December 31^st. Tickets and more information can be found at www.bostonballet.org or by calling the Box Office at 617-695-6955.

West Side Story at North Shore Music Theatre (Beverly, MA)

West Side Story was originally conceived, directed and choreographed by Jerome Robbins for the Broadway stage back in 1958. It is a modernized version of Shakespeare’s Romeo and Juliet with book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim.

This production is led by husband and wife director and choreographer team Bob Richard and Diane Laurenson. Music director Milton Granger conducts the wonderful sixteen member orchestra, whose beautiful playing of the well-known score is truly a highlight of this production.

Robbins’ original choreography was adequately performed by the cast, but often seemed cramped on the circular stage. The formation and spacing adjustments may have been to blame when it came to the synchronization and timing of some of the numbers; notably the dance-break in “Cool”.  However, the dancers’ skill and their high energy made “Dance at the Gym” and “America” instant audience favorites. “America” was fiercely led by Anita, played by Michelle Alves, who shined not only as a strong dancer, but vocalist throughout the production.

Tony, played by Bronson Norris Murphy, executed smooth and controlled vocals in both “Something’s Coming” and “Maria”; though, at times, he was drowned out by the orchestra. Murphy’s portrayal of Tony came across as low key and passive which made it difficult to believe that Tony was ever the leader of the Jets gang. Evy Ortiz as Maria, however, was youthfully in love and completely believable. Her heartbreak and anger in the finale was genuine and palpable, pulling on the heartstrings of the audience. Their duets: “Tonight”, “One Hand, One Heart”, and “Somewhere Ballet”, were sweetly and beautifully sung by the pair whose classically trained voices were perfectly matched and a delight to listen to.

Bronson Norris Murphy (Tony) and Evy Ortiz (Maria) in WEST SIDE STORY. Photo©Paul Lyden

The most emotionally driven performance was the duet between Anita (Alves) and Maria (Ortiz) in act two: “A Boy Like That/I Have a Love”. The pair was connected and wore their hearts on their sleeves in this riveting and powerful number. Interestingly, while the Jets delivered concrete vocals in the “Jet Song”, “Cool” and “Gee, Officer Krupke”, the humorous lyrics in the later failed to land with the audience. NSMT audience favorite, David Coffee, delivered a notable performance as Doc, an older shopkeeper who was often trying to talk sense to the younger generation.

The finale is one of the most tense and emotionally powerful scenes in the show, however at this performance, the audience seemed caught off guard and nervously laughed when the gun was shot, immediately breaking the tense mood and causing the dramatic ending to fall flat. One has to wonder if there was a “gunshot notification” posted on the theatre doors that the entire audience missed. This production lacked character and emotional depth; the racial strife and intolerance, at the core of the story, was not believably conveyed. The audience seemed unengaged at times as their reaction to the action on stage was noticeably minimal. ©   

West Side Story runs about 2 hours and 20 minutes including intermission and plays Tuesdays-Sundays through November 20th. Tickets range from $54-$79 with group rates available for groups 10 or more. The show contains violence and adult language; it may not be suitable for all audiences. For tickets or more information visit www.nsmt.org , call 978-232-7200 or visit the box office in person at 62 Dunham Rd. Beverly, MA.