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DON'T FORGET TO NOMINATE YOUR FAVORITES FOR THE 2026 JKTS READERS CHOICE AWARDS HERE! NOMINATIONS BALLOT CLOSES SUNDAY!
Review of the Saturday, May 9, 2026 matinee performance at the Lyric Opera House in Baltimore, Maryland. A production of the Washington National Opera Company. Starring Ryan McCartan, Shereen Pimentel, Taylor Harley, Amanda Castro and Yurel Echezarreta. Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Original conception, choreography and direction by Jerome Robbins. Set design by Peter J. Davison. Costume design by Jessica Jahn. Lighting design by A.J. Guban. Sound design by Andrew Harper. The Washington National Opera Company Orchestra conducted by Marin Alsop. Choreography re-created by Joshua Bergasse. Direction by Francesca Zambello. 2 hours, 45 minutes including one intermission. Production continues through May 15th at The Music Center at Strathmore in Bethesda, Maryland. NOTE: The production will be semi-staged (costumes and props, no scenery) at Strathmore. ⭐️⭐️⭐️⭐️⭐️
Though we would never intentionally miss a production of West Side Story, especially a professional one, I have to confess that we attended this performance for more than our love for the show. We are fully in support of Washington National Opera's refusal to play at the Kennedy Center in D.C. under the current regime.
So, how was it? In a word: Fantastic!
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While in the context of grand opera, the scoring & orchestra size/quality, might be expected, I was very interested in how a Broadway musical would play as an opera. I never doubted that the singing would be less than superb (it was), I wondered how it might sound in this context. Though some of the singing was less "character-y" than normal - the stereotypical New Yawk affectations of the script aren't hit quite as hard as usual - and some of the notes in the the ballads are held a smidge longer that usual, none of the differences come at the expense of meaning or characterization. In my limited experience with opera, I have found that many times the acting takes a back seat to the singing. Not the case here, at all.
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Under the direction of Francesca Zambello, the production is fast-paced, and taut in all the right places. The exuberance of "America" and "The Jet Song," for example, serve as sharp counterpoint to the tension of "The Dance at the Gym" and "The Rumble," as well as the dramatic heights of "Tonight" and "A Boy Like That/I Have a Love." What is remarkable about her direction is how she manages to use the enormous stage fully, and yet makes it all feel so intimate. Broadway's Joshua Bergasse has taken on the monumental task of re-creating the legendary Jerome Robbins choreography, and done so successfully. The Jets, Sharks and their girls here are very capable, and are at all times exciting to watch. "The Dance at the Gym," "Cool" and the "Somewhere" ballet were particularly thrilling.
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As great as all of that is, the cast is even better, from top to bottom. All of the gang members are high energy and intense, each excellent at gelling as a unit while creating individual characters. Standouts include Arcadian Broad (Baby John), Brendan Yeates (Diesel), Madison Hertel (Anybodys) and Emily Snouffer (Graziella). As the primary adults, Wynn Harmon's Doc is the perfect mix of world-weary and terrified, and Zachary Owen's Lt. Schrank is excellent at being an all too familiar mouthpiece for ignorance, anger and prejudice.
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The principal cast has a lot to live up to, and boy, do they! Yurel Echezarreta's Bernardo is a coy young man with something to prove, cloaked in an interesting bravado and provocative arrogance. At times, I thought he was being a bit...sassy, but he made it work. Equally headstrong, but with an undercurrent of naivete is Taylor Harley's Riff, who is probably the best sung Riff I've ever heard. Everyone's favorite diva, Anita, is marvelously rendered here by Amanda Castro, who is a smaller woman with a giant presence. A ton of sass and strength, with a satisfying amount of vulnerability, she sings and dances the role with an endearing urgency. I'm certain Chita Rivera would approve.
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This production is proof positive that a traditional West Side Story is still relevant as is. Those things that are problematic actually serve the point these days. The stereotypes and language are perhaps even more relevant today, given the current climate in our country. And yet, it still provides hope that we will find our way back to a more civil way of life, and from there, celebrate what makes us different instead of dividing us.
📸: Elman Studio
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