Review: West Side Story

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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.

There are, of course, other reasons we wanted to see this. Regular readers know that this title is among our vary favorites in the musical theater canon. There are several Broadway folks involved in this production, including both leads and several other company members, not to mention the choreographer and director. Perhaps most specifically, we were interested in seeing how an opera company would influence the presentation. Finally, we are big fans of the renowned conductor, Marin Alsop.

So, how was it? In a word: Fantastic!

This production, save for some of the design elements, is about as traditional a West Side Story as I've seen. It is even more traditional than even the 2009 Broadway revival. The score, played by the glorious 50-piece Washington National Opera Company Orchestra, is so lush and full bodied. It reminded me of the original movie scoring. Even the scene change music is intact! Every song, every dance number - including the gorgeous "Somewhere Ballet" - is joyous to listen to. Literally, it was music to my ears. As a fan of this iconic masterpiece, hearing this was a rare privilege, one for which I am very grateful.

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.

  

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.

In terms of design, there are some interesting choices here: the main set - huge and imposing - designed by Peter J. Davison, is an interesting mix of urban decay, 50's style and Roman/Italian arches, perhaps a nod to Romeo and Juliet? While A.J. Guban's lighting is relatively utilitarian, there are beautiful moments of light washes and equally ominous dark shadows. Andrew Harper's superb sound design was perfection, particularly the balance between the orchestra and the actors. This is no small feat, considering the enormous cavern that Baltimore's Lyric Opera House is. The most unique design element here is Jessica Jahn's costume design, which is both traditional in its use of opposing color palates for the Jets and Sharks, and non-traditional in its style. Everyone is in non-specific modern dress. Picture Adidas jogging pants, jeans, modern sports team jerseys and jackets, leggings and crop tops, and an array of modern footwear like high top Nikes, Vans and the like. The differences between the two factions are still easily discernible, yet somehow they seem more equal and, importantly, timelessly everyman.

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.

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.

Of course, West Side Story all but requires a Tony and Maria that you not only root for but care about and truly believe. Shereen Pimentel is a stunning Maria, headstrong and no shy violet from the get go, you see immediately why Tony could be heard over heels at first sight. Her soaring soprano is breathtaking, and her final scene will break even the coldest of hearts. (She was out the day we saw the 2020 Broadway revival, and I am so happy we finally got to see her.) For me, though, Ryan McCartan was the find of the show. I'm not sure anything I could say here could completely capture how amazing his ill-fated Tony is. His "Something's Coming" is joyous, and his "Maria" is a true revelation. What a voice! What a belt! He is utterly charming from his first line, and even though his tragic end is a given, I found myself hoping that somehow, someway, he'd survive this time.

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