Review: WEST SIDE STORY Presented by Washington National Opera at The Music Center At Strathmore
The Washington National Opera is, indeed, at home at any place where people desire exquisite artistry.
It was good to be back at the Washington National Opera for their thrilling performance of West Side Story after a year of extreme change for this vital world-renowned artistic organization/institution. As many people already know, the Washington National Opera has had to relocate to other venues to proactively create new artistic paradigms after some tough challenges at the Kennedy Center. (I was pleased to review this production on the night of May 14, 2026, at The Music Center at Strathmore
Their most recent production of the landmark, groundbreaking, award -winning musical, West Side Story, was presented with operatic flourish and amazing precise replication of the original Jerome Robbins’ balletic yet athletic, syncopated choreography. Artistic Director Francesca Zambello has helmed a fusion of choreographic intensity by choreographer Joshua Bergasse and sublime singing complimented by the marvelous Washington National Opera Orchestra.
The creative team who made West Side Story happen could well be the most illustrious in history –namely, Leonard Bernstein (composer). Stephen Sondheim (lyrics), Arthur Laurents (book), and Jerome Robbins (choreographer).
The influence of West Side Story cannot be emphasized enough ---such musicals as Rent, Hair, In the Heights, and Hamilton were all influenced by this revolutionary musical that synergized choreography, music and serious themes to such a large degree. West Side Story stands along Show Boat, Oklahoma, A Chorus Line, and Hamilton as a work of paramount importance in theatrical form and content.
I fondly still recall when I saw the 1980 revival on Broadway: I had escorted some foreign friends of my extended family for their first trip to see an American musical and they were thrilled to see West Side Story as their first musical experience.
Themes of prejudice, class, racial intolerance, revenge, hatred, anti-authoritarianism, and generational conflict (that were rarely explored quite so thoroughly previously) run like uncoiling dramatic arcs in the musical.
There was some remarkably interesting and perceptive casting in this production . As the spirited and loyal Anita, performer Amanda Castro breaks the fourth wall with the audience and establishes a very charismatic and immediate connection. Ms. Castro is a triple-threat talent ---a true mercurial talent who wowed the audience with here vigorous dancing in her rendition of the classic “America”. Ms. Castro’s mezzo-soprano was thrilling as she sang with impassioned fervor in her admonition to Maria in “ A Boy Like That” (sung in counterpoint to soprano Shereen Pimentel’s heartfelt “I Have a Love” –which was a highlight of the production).
Shereen Pimentel, as the idealistic Maria, also delivered a poignant rendition of “One Hand, One Heart” and the classic “Tonight” (sung with tenor Ryan McCarten’s sensitive tones as Tony).
Mr. McCarten shone in his magnificent delivery of the classic anticipatory song “Something’s Coming.” Mr. McCarten sang this classic song with an air of spontaneity and wonder --as if it were being created anew.
Taylor Hartley’s Riff (the leader of the Jets) dances and acts with finesse and fire as does Yurel Echezarreta’s Bernardo (as the leader of the Sharks).
Wynn Harmon as the worldly-wise Doc adds a much-needed element of sanity to the heightened proceedings.
Madison Hertel as Anybodys and Arcadian Broad are standouts in the cast.
Zachary Owen’s interpretation of Lt. Schrank was full of appropriate malice and callousness.
The parallels to William Shakespeare’s Romeo and Juliet run rampant through the production –it just came to me that the character of Anita had a parallel in the character of the nursemaid in Romeo and Juliet.
Just as the remarkably textured music of Leonard Bernstein carries the narrative forward, the original choreography of Jerome Robbins (as replicated here by Joshua Bergasse) becomes as one with the libretto. This electrically charged choreography is the rightful focus of the whole production and it almost becomes a central character itself.
“The Jet Song” was a cry of pride from the Jets gang as they danced and lept up in affirmation of their unity.
“America” contained all the freedom, abandon and –concurrent—tension that has made this riveting song about the good and the bad about living in “America” justifiably famous.
The song “Cool” was a celebration of being chill or “cool” ---while the dancers occasionally are being pulled into undercurrents of anxiety and dissonance. The choreographed snapping of fingers, lunging forward and reaching up with arms outstretched engages the eye (and shows the intersectionality of choreographers Jerome Robbins and Bob Fosse).
“The Rumble” was a kinetic and dramatic knockout of an ensemble number as the two rival gangs become engaged in a fight that becomes deadly (Intimacy/Fight Coordinator Sierra Young should be credited here).
The comedic character song “Gee, Officer Krupke” was a decided highlight of the musical as it satirized fallible authoritarian systems and institutions. This song was wittily choreographed like a sketch from the manic Keystone Cops.
The Washington National Opera Orchestra played with thrilling intensity and concurrent poignancy throughout the production. It was as if hot-electric currents were running through the phenomenally creative Leonard Bernstein songs and orchestral interludes. The ensemble driven “The Dance at the Gym” was an exceptional delight of orchestral intricacy. Conductor James Lowe (Marin Alsop conducted at the Lyric Baltimore) conducted the alternately sweeping, tender, jazzy and bleakly humorous score with fiery aplomb.
Costume design by Jessica Jahn was very engaging.
West Side Story conveys a message of tolerance that is more relevant than ever. The choreographic skill presented with the mesmerizing vocals makes this a West Side Story replete with a pronounced operatic encasing. The Washington National Opera is, indeed, at home at any place where people desire exquisite artistry.
Running Time: Two Hours and thirty minutes and one twenty-minute intermission.
West Side Story was presented on May 14, 2026, and May 15, 2026, by the Washington National Opera at The Music Center at Strathmore located at 5301 Tuckerman Lane, North Bethesda, MD, 20852. (The production was also presented, with full scenery, at 140 West Mount Royal Avenue, Baltimore, MD, 21201.
Photo credit: The company of Washington National Opera's production of West Side Story.
Photo by Elman Studio.
Reader Reviews
Videos
