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** Contrasting with most modern movie musicals, almost the entirety of the cast is made up of musical theatre performers unknown to mainstream film audiences. Creator/RitaMoreno is the most famous among the lead cast, being [[UsefulNotes/TheEGOTs an EGOT winner]]. Except for Creator/AnselElgort (who became famous through non-musical films), Creator/RachelZegler (who got cast straight out of high school), and Creator/CoreyStoll (who's worked primarily on TV with a few supporting film roles), all of the main actors are Broadway alums.
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** Contrasting with most modern movie musicals, almost the entirety of the cast is made up of musical theatre performers unknown to mainstream film audiences. Creator/RitaMoreno is the most famous among the lead cast, being [[UsefulNotes/TheEGOTs [[MediaNotes/TheEGOTs an EGOT winner]]. Except for Creator/AnselElgort (who became famous through non-musical films), Creator/RachelZegler (who got cast straight out of high school), and Creator/CoreyStoll (who's worked primarily on TV with a few supporting film roles), all of the main actors are Broadway alums.
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* StarMakingRole: Rachel Zegler was fresh out of high school when cast and the film and the acclaim she received for her performance mad her a well-known actress virtually overnight.
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* StarMakingRole: Rachel Zegler was fresh out of high school when cast and casted in the film film, and the acclaim she received for her performance mad made her a well-known actress virtually overnight.
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* StarMakingRole: Rachel Zegler was fresh out of high school when cast and the film and the acclaim she received for her performance mad her a well-known actress virtually overnight.
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor iris menas.
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor iris menas.Creator/IrisMenas.
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Switching to all lower-case letters for iris menas.
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor Iris Menas.
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor Iris Menas.iris menas.
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* BannedInChina: It was banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor Iris Menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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* BannedInChina: It was banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor Iris Menas.iris menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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Upon further reflection, Role Reprise can apply in cases of less than 5 years if it's an adaptation into another medium. Restoring.
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** In the Japanese dub, Creator/MamoruMiyano, who played Tony in the 2019 Japanese version of the play, reprises that role again.
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* AuthorsSavingThrow:
** Music/StephenSondheim updating the lyrics to "America," keeping its argumentative BothSidesHaveAPoint but removing "let it sink back in the ocean" (likely because it would have invoked Hurricane Maria) while fleshing out the complicated feelings Puerto Ricans in America may feel toward their motherland. For example, "...And the people trying."
** To avoid the {{brownface}} issue of the original film, Creator/StevenSpielberg specifically asked for Latino actors for the Shark auditions. To a lesser extent, Spielberg also averted the LatinoIsBrown trope present in the [[Film/WestSideStory1961 1961 film]] by casting Latino actors across several ethnicities. For instance, Rachel Zegler (María) is of Colombian decent and Ariana [=DeBose=] (Anita) is Afro-Latina. Ariana even feared she was too dark for the role, but Spielberg insisted she was perfect.
** It was also well publicized how all the actors in this version would do their own singing, unlike the original which infamously dubbed almost every principal soloist either partially or entirely.
** The musical and 1961 film's scripts were both full of made up slang used by the Jets that sounds like complete {{Narm}} in the modern day. Creator/TonyKushner's screenplay for this film removes all of it and uses more timeless dialogue.
** In "Gee, Officer Krupke," the lines "My sister wears a mustache! My brother wears a dress!" come across as pretty transphobic to modern audiences. Just before the song, it's established that the Jets themselves are transphobic towards Anybodys, as they repeatedly misgender and humiliate him. This makes the lyrics very in character for them.
** "Cool" is often considered a fairly superfluous number by fans, as little of consequence happens in it. In this version, it becomes an intense battle of wits dance-off between Tony and Riff that tests their friendship.
** Kushner's script also gives more focus to the individual Sharks, who — outside of Bernardo and to a much lesser extent Chino — were much more out of focus compared to the Jets in previous versions.
** Some find María UnintentionallyUnsympathetic for immediately forgiving [[spoiler: Tony for killing her brother]]. This version emphasises how complicated Maria's and Bernardo's relationship was, with the latter being extremely controlling to both her and Anita as well; implying strongly that though she loved him she also felt smothered by his ways. Rachel Zegler also plays it very much as though María isn't sure of her feelings in those scenes, making it more obvious things are being done in the heat of the moment.
** Music/StephenSondheim updating the lyrics to "America," keeping its argumentative BothSidesHaveAPoint but removing "let it sink back in the ocean" (likely because it would have invoked Hurricane Maria) while fleshing out the complicated feelings Puerto Ricans in America may feel toward their motherland. For example, "...And the people trying."
** To avoid the {{brownface}} issue of the original film, Creator/StevenSpielberg specifically asked for Latino actors for the Shark auditions. To a lesser extent, Spielberg also averted the LatinoIsBrown trope present in the [[Film/WestSideStory1961 1961 film]] by casting Latino actors across several ethnicities. For instance, Rachel Zegler (María) is of Colombian decent and Ariana [=DeBose=] (Anita) is Afro-Latina. Ariana even feared she was too dark for the role, but Spielberg insisted she was perfect.
** It was also well publicized how all the actors in this version would do their own singing, unlike the original which infamously dubbed almost every principal soloist either partially or entirely.
** The musical and 1961 film's scripts were both full of made up slang used by the Jets that sounds like complete {{Narm}} in the modern day. Creator/TonyKushner's screenplay for this film removes all of it and uses more timeless dialogue.
** In "Gee, Officer Krupke," the lines "My sister wears a mustache! My brother wears a dress!" come across as pretty transphobic to modern audiences. Just before the song, it's established that the Jets themselves are transphobic towards Anybodys, as they repeatedly misgender and humiliate him. This makes the lyrics very in character for them.
** "Cool" is often considered a fairly superfluous number by fans, as little of consequence happens in it. In this version, it becomes an intense battle of wits dance-off between Tony and Riff that tests their friendship.
** Kushner's script also gives more focus to the individual Sharks, who — outside of Bernardo and to a much lesser extent Chino — were much more out of focus compared to the Jets in previous versions.
** Some find María UnintentionallyUnsympathetic for immediately forgiving [[spoiler: Tony for killing her brother]]. This version emphasises how complicated Maria's and Bernardo's relationship was, with the latter being extremely controlling to both her and Anita as well; implying strongly that though she loved him she also felt smothered by his ways. Rachel Zegler also plays it very much as though María isn't sure of her feelings in those scenes, making it more obvious things are being done in the heat of the moment.
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Role Reprise now requires a 5 years gap between appearances.
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** In the Japanese dub, Creator/MamoruMiyano, who played Tony in the 2019 Japanese version of the play, reprises that role again.
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* RomanceOnTheSet: Rachel Zegler (María) and Josh Andrés Rivera (Chino), who met during filming, confirmed that they were dating in February 2022. Ironically, Chino is María's spurned suitor in the film.
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* RomanceOnTheSet: RomanceOnTheSet:
** Rachel Zegler (María) and Josh Andrés Rivera (Chino), who met during filming, confirmed that they were dating in February 2022. Ironically, Chino is María's spurned suitor in the film.
** Rachel Zegler (María) and Josh Andrés Rivera (Chino), who met during filming, confirmed that they were dating in February 2022. Ironically, Chino is María's spurned suitor in the film.
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* BannedInChina: It was banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor iris menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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* BannedInChina: It was banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor iris menas.Iris Menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor iris menas.
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* QueerCharacterQueerActor: Anybodys is stated to be a trans man in this version, and is played by non-binary actor iris menas.Iris Menas.
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* Likewise Ben Cook (Mouthpiece) and Gaby Diaz (Tati) are also a couple.
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*Likewise Ben Cook (Mouthpiece) and Gaby Diaz (Tati) are also a couple.
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* AcclaimedFlop: The film has received rapturous acclaim from both critics and audiences who saw it alike, receiving boatloads of awards nominations, with many stating that, in some ways, it might even be superior to Robert Wise's/Jerome Robbins' hallowed, Oscar-sweeping pop culture landmark of an adaptation from 1961. This did not, however, translate to success at the box office, as it grossed a little over $10 million in its first weekend against a $100 million budget. The heavily anticipated ''Film/SpiderManNoWayHome'' coming out a week later and becoming the biggest Christmas release ever, combined with the increasing spread of the COVID-19 Omicron variant keeping older audiences at home, greatly hampered its performance. Many of the actors, including Rachel Zegler, have taken this in stride, noting that it was either them or Spider-Man.
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* AcclaimedFlop: The film has received rapturous acclaim from both critics and audiences who saw it alike, receiving boatloads of awards nominations, with many stating that, in some ways, it might even be superior to Robert Wise's/Jerome Robbins' hallowed, Oscar-sweeping pop culture landmark of an adaptation from 1961. This did not, however, translate to success at the box office, as it grossed a little over $10 million in its first weekend against a $100 million budget. The heavily anticipated ''Film/SpiderManNoWayHome'' coming out a week later and becoming the biggest Christmas release ever, combined with the increasing spread of the COVID-19 Omicron variant keeping older audiences at home, greatly hampered its performance. Many of the actors, including Rachel Zegler, have taken this in stride, noting that it was either them or Spider-Man.''Spider-Man''.
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's fifth film to lose money at the box office after ''[[Film/NineteenFortyOne1979 1941]]'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's Spielberg's fifth film to lose money at the box office after ''[[Film/NineteenFortyOne1979 1941]]'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's fifth film to lose money at the box office after ''Film/NineteenFortyOne1979'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's fifth film to lose money at the box office after ''Film/NineteenFortyOne1979'', ''[[Film/NineteenFortyOne1979 1941]]'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
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* BannedInChina: Banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor iris menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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* BannedInChina: Banned It was banned in multiple Middle Eastern countries for containing a transgender character, [[QueerCharacterQueerActor played by non-binary actor iris menas.]] Co-producer Kevin [=McCollum=] compared the situation to when Creator/WilliamShakespeare had to contend with the [[MoralGuardians Puritans]] who viewed otherwise-innocuous works such as theatre as the [[EveryoneIsSatanInHell work of the devil]]:
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's fifth film to lose money at the box office after ''Film/NineteenFortyOne'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
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* BoxOfficeBomb: Budget: $100 million. Total worldwide gross three months after release: ~ $72 million. The lack of returns was attributed to the poor marketing, the lack of big stars in the cast outside of Creator/AnselElgort and Creator/RitaMoreno, the surge of the COVID-19 Omicron variant keeping older audiences (its main target demographic) at home, and being released close to the highly-anticipated ''Film/SpiderManNoWayHome''. As a result, this is Speilberg's fifth film to lose money at the box office after ''Film/NineteenFortyOne'', ''Film/NineteenFortyOne1979'', ''Film/EmpireOfTheSun'', ''Film/{{Munich}}'', and ''Film/TheBFG''.
