A Story We Thought We Knew, Until Now

Anita (Amanda Castro) with Sharks ladies Courtesy of Elman Studios

The anticipation surrounding West Side Story rarely feels routine, and this week, it carries a particular charge. As the Washington National Opera prepares to open its production on Friday, May 8 at the Lyric Baltimore, the evening unfolds not merely as a performance, but as a statement: a convergence of musical theater and opera, of timeless narrative and present-day urgency.

The opening night begins at 6:30 p.m. with a lecture and presentation, followed by the fully staged production at 7:30 p.m. at the Lyric Baltimore. The production continues there through May 9 and 10, before moving to the Music Center at Strathmore in North Bethesda, Maryland, on May 14 and 15, where it will be presented in a semi-staged format. Under the direction of Francesca Zambello, this acclaimed staging has traveled across major opera houses, carrying with it both spectacle and a sharpened social lens.

Maria (Shereen Pimentel) and Tony (Ryan McCartan) in the balcony scene. Courtesy of Elman Studios

At the center of it all is Shereen Pimentel, whose return to the role of Maria marks a deeply personal evolution. Having first performed Maria in a condensed, one-act version, and later in a fuller production in Houston, Pimentel now approaches the role with renewed perspective.

“The first production I did had a lot more darkness,” she reflects. “But now, doing it a third time, what’s really exciting is to explore the joy and the fun that comes with playing Maria. She’s 16 years old… being able to really dive into the youth and the love in this third time has been incredibly exciting.”

It is precisely this balance, between innocence and awareness, lyricism and realism, that defines both Maria and the enduring relevance of the work itself. Created by the formidable quartet of Leonard Bernstein, Stephen Sondheim, Arthur Laurents, and Jerome Robbins, West Side Story remains a modern retelling of Romeo and Juliet, set against the charged backdrop of identity, migration, and belonging.

Tony (Ryan McCartan) sings “Something’s Coming” with Washington National Opera Orchestra, conducted by Marin Alsop. Courtesy of Elman Studios.

For Shereen, Maria is far more than a symbol of innocence. “I think she represents hope,” she says. “She’s told who she should love, who she should be around, and she chooses to look past all of that. She sees someone for who he is, for his heart. And I think that’s incredibly important today, when people are so often judged by where they come from, by race, by identity.”

In this production, that immediacy is underscored through a contemporary visual language. Gone are the nostalgic trappings of the 1950s. Maria first appears in jeans and a T-shirt, a deliberate choice that collapses the distance between audience and story. “It’s very easy to look at this as a vintage piece,” Shereen notes. “But it’s not. The story is still happening today. The violence, the discrimination, it’s unfortunately still very relevant. Modernizing the costumes helps us see that this is not in the past.” And yet, certain visual motifs endure. Maria’s white dress remains, a timeless emblem of purity, before evolving into a vibrant yellow in the second act. “That yellow becomes more alive,” she explains. “It’s when she is fully in love, fully going after what she believes in… imagining a world where everyone can coexist.”

This interplay between beauty and brutality is embedded within the score itself, brought to life here under the baton of Marin Alsop, a protégé of Bernstein. For Shereen, the musical structure becomes an emotional architecture. “When things are beautiful for Maria, the music lifts her, there’s so much lyricism,” she says. “But when tragedy happens, the singing stops. She grounds herself in speech. That shift is everything.” Her interpretation resists the notion of Maria as naïve. Instead, Shereen Pimentel offers a more nuanced, and perhaps more radical, reading. “I see her as quietly radical,” she says. “She doesn’t question what she feels. She knows. Even when others try to define what’s right or wrong for her, she stands firmly in her own belief. She’s not naïve, she’s certain.”

That certainty extends beyond the stage. In a moment marked by institutional transitions and broader cultural tensions, this production carries an added layer of meaning. The decision to present the work at the Lyric Baltimore and Strathmore reflects not only logistical adaptation, but conviction.

“Our decisions matter,” Pimentel reflects. “The things we stand for are incredibly important. Being able to perform this piece and know that it’s supported, that people are choosing to come, to engage with it, especially in challenging times, that means everything.”

As the Washington National Opera marks its 70th anniversary, this production stands as both culmination and continuation: a reaffirmation of artistic ambition and cultural relevance.

Sharks (red clothes) and Jets (blue clothes) with Tony (Ryan McCartan) – far right, Anita (Amanda Castro) – far left, red shirt; and Maria (Shereen Pimentel) on balcony. Courtesy of Elman Studios

For audiences, the invitation is clear, and quietly urgent. “I hope people leave thinking deeply about the themes,” Shereen says. “About the choices that are made, and how different decisions might have changed everything. And I hope they carry with them the idea that we can choose something better.”

On opening night, that idea will not be abstract. It will be sung, embodied, and, perhaps most importantly, felt.

Header Photo Credit: Courtesy of Elman Studios