Selecting a West Side Story film cast is basically an impossible task. You're competing with ghosts. Specifically, the 1961 ghosts of Natalie Wood, Richard Beymer, and the legendary Rita Moreno. When Steven Spielberg announced he was taking another crack at the Bernstein and Sondheim masterpiece, the theater world collectively held its breath. People were worried. Would it be a hollow remake? Would the casting feel like a corporate checklist?
Honestly, it wasn't. It was a revelation.
The 2021 ensemble didn't just recreate the Shark-Jet rivalry; they recontextualized it. By prioritizing Latiné authenticity and actual singing ability—something the original film famously sidestepped with extensive dubbing—this group of actors managed to make a sixty-year-old story feel like it was written yesterday.
The Maria Problem and Rachel Zegler’s Meteoric Rise
Finding Maria was the linchpin. In the 1961 version, Natalie Wood was a massive star, but she wasn't Latina, and she didn't actually sing her own songs (Marni Nixon did the heavy lifting there). Spielberg knew he couldn't do that in the 21st century. He needed someone who could embody the innocence of a Puerto Rican immigrant while possessing a soprano range that could shatter glass.
He found her on Twitter. Sorta.
Rachel Zegler was a 17-year-old high school student when she sent in her audition tape. She was literally a "theatre kid" from New Jersey. Her casting is the kind of Cinderella story that usually only happens in, well, movies. Zegler’s Maria is different from Wood’s. She’s more grounded. There’s a steeliness in her eyes during "A Boy Like That" that makes you realize this Maria isn't just a victim of circumstance; she’s a woman navigating a violent, crumbling world with her eyes wide open.
You’ve gotta realize how much pressure was on her. This wasn't just her film debut; it was her introduction to the world as the face of a $100 million Spielberg epic. And she nailed it. Her chemistry with Ansel Elgort’s Tony was the subject of endless debate—some fans found it electric, others found it a bit lopsided—but her vocal performance was undisputed. When she sings "Tonight," you aren't thinking about technical proficiency. You're just feeling the desperation.
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Ansel Elgort as Tony: The Controversial Choice
Then there’s Tony. Tony is a notoriously difficult role to cast. He’s a former gang leader who has "found religion," so to speak, in the idea of a better life. He needs to be physically imposing enough to have led the Jets, but sensitive enough to fall in love at first sight at a gym dance.
Ansel Elgort brought a very specific energy to the West Side Story film cast. Standing at 6'3", he visually dominated the screen, which helped sell the idea that he was once the "big dog" of the Jets. His singing was surprisingly traditional. He used a crooner-style vibrato that felt like a throwback to the 1950s.
However, his casting wasn't without friction. Outside of the performance itself, social media was a hornet's nest of opinions regarding his personal life and whether he was the right fit for such a sensitive, romantic lead. If you look at the film strictly through a craft lens, his Tony is more "reformed delinquent" than "dreamy poet." He plays it with a certain heaviness. He’s a guy trying to outrun his own shadow, and that makes his eventual fate feel a lot more inevitable.
Ariana DeBose and the Shadow of Rita Moreno
If Maria is the heart of the story, Anita is the soul.
Rita Moreno’s 1961 performance as Anita is one of the most iconic turns in cinema history. She won an Oscar for it. Replacing her—or even standing in her shadow—is a terrifying prospect for any actress. Ariana DeBose didn't just step into the role; she detonated it.
DeBose brought a background in dance that most actors would kill for. Coming off Hamilton and The Prom, she understood how to use her body to tell a story. Her Anita is a whirlwind. In the "America" sequence, which Spielberg moved from a rooftop to the sweltering streets of New York, DeBose is a technical marvel. The way she flips from joy to defensive anger is seamless.
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What’s wild is that Rita Moreno was actually on set. She played Valentina, a reimagined version of the "Doc" character. Imagine trying to perform "America" or the "Rumble" aftermath while the woman who won an Oscar for that exact role is sitting in the corner watching you. DeBose has mentioned in interviews that Moreno was supportive, but that kind of pressure is immense. It paid off. DeBose won the Academy Award for Best Supporting Actress, making them the first pair of women to win Oscars for playing the same character.
That’s history.
The Jets and Sharks: More Than Just Background Dancers
In many productions, the gang members are just "the ensemble." They’re bodies to fill the stage. Spielberg and casting director Cindy Tolan took a different route. They looked for "triple threats"—people who could act, sing, and dance at a Broadway level.
- Mike Faist (Riff): This was the breakout performance for many. Faist, a veteran of Dear Evan Hansen, played Riff with a desperate, wiry energy. He looked like a stray dog that would bite you if you got too close. His chemistry with Elgort felt like a real, fractured brotherhood.
- David Alvarez (Bernardo): A Tony Award winner for Billy Elliot, Alvarez brought a boxer's physicality to Maria's brother. He wasn't just a "rival"; he was a man trying to protect his community from a system that hated him.
- Iris Menas (Anybodys): The 2021 film made a conscious choice to clarify Anybodys’ gender identity, casting non-binary actor Iris Menas. It added a layer of modern relevance to the Jets' internal politics—showing that even among the outcasts, there were further hierarchies of "belonging."
The choreography by Justin Peck was brutal. It wasn't the "jazz hands" style people associate with old-school theater. It was athletic. It was violent. When the Jets and Sharks clash, it feels like a riot, not a recital. That’s a testament to the depth of the West Side Story film cast beyond the leads.
Why Authenticity Actually Matters Here
We have to talk about the language. One of the gutsiest moves Spielberg made was refusing to use subtitles for the Spanish dialogue. He felt that subtitling the Spanish would "level the playing field" and imply that English was the "dominant" language.
This placed a huge burden on the Puerto Rican cast members. They had to convey the meaning of their words through emotion and physicality for the non-Spanish-speaking audience. It worked. It made the world feel lived-in. When Bernardo and Anita argue in their apartment, you don't need a translation to understand the tension between the "American Dream" and the reality of being a second-class citizen.
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Also, the 1961 film used "brownface" on almost everyone, including Rita Moreno, who is actually Puerto Rican. They used the same shade of dark makeup on everyone to make them look "uniform." In 2021, the West Side Story film cast showcased the actual diversity of the Latiné community—different skin tones, different backgrounds, and authentic accents.
The Legacy of the 2021 Ensemble
When you look back at this cast, you're looking at the future of Hollywood. Rachel Zegler went on to lead The Hunger Games: The Ballad of Songbirds & Snakes and Disney’s Snow White. Mike Faist became a prestige cinema darling with Challengers. Ariana DeBose is a household name.
The film didn't set the box office on fire, which is a shame. Some blame the pandemic, others blame a lack of interest in "old" stories. But the quality of the acting is undeniable. They took a story about racial tension and urban decay and made it feel urgent.
If you're looking to understand how to cast a modern musical, this is the blueprint. You don't just hire the biggest names you can find. You find the people who fit the skin of the characters. You find the people who can do the work.
To really appreciate the nuances of the West Side Story film cast, you should watch the 1961 and 2021 versions back-to-back. Look at the "Quintet" sequence. Notice how the 2021 cast uses the space differently. Notice the small glances between the Jets that suggest years of shared trauma.
The next step for any fan of this cast is to dive into the "making of" documentaries. Seeing the rehearsal footage of the "Dance at the Gym" gives you a profound respect for the physical toll this movie took on the actors. You can find many of these behind-the-scenes clips on Disney+ or YouTube, highlighting the rigorous "boot camp" the cast went through to master Jerome Robbins' original concepts reimagined by Peck.
Pay close attention to Mike Faist and David Alvarez during the "Rumble." The precision in their knife-fight choreography is terrifyingly good. It’s not just a movie; it’s a masterclass in ensemble performance.