A silent tear that never falls feels the heaviest.

Never knowing whether you want to become a victim to emotional reflex, or brush it off in the name of pride, the water forgets to materialize. It never forms.

Tonight, in the continued living memory of Bill Mutimer, it became OK to cry.

Gone were the theatrics of performing a spectatorial facade, gone were the moments of instinctual reaction, and all that was left was love. A love for the art form, a love for the beloved “West Side Story,” and a love for just belonging.

After all, as Darah Donaher echoed in a pre-show announcement ritual, we are all just looking for our somewhere. Bill gave us that.

“West Side Story” cemented itself as a classic without expiration because it is centered on a subject that will be forever present: humanity.

Jerome Robbins, Leonard Bernstein and Stephen Sondheim, a trio that feels almost illusive, knew what they were producing.

What might have not been known is that their portrait of the human condition, and the details that reside in each stroke, would be so prevalent today.

There is truth to the concept that we still live in a world of Jets versus Sharks that is likened to a continued political climate measured by polarization.

More truth, however, is found underneath all that self-inflicted friction and manifests itself as hope. That is what makes a show like this so special, these actors are living examples of resilience in the face of subjugation.

Remaining faithful to the more recent film adaptation, María Pallete and Anthony Ghali arrive as a fresh-faced, mortally contemporary, couple. Familiarity with songs like “Maria,” “Tonight” and even the melodic “I Feel Pretty,” can plague a production. Overexposure can lead to disappointment because of expectation.

When ears are met with Bernstein’s music, a sense of heightened enlightenment should follow. Pallete and Ghali, in their respective turns, did this with ease and allowed for immersion with the source material.

A recording artist like Miguel, or even Khalid, is what immediately came to mind when hearing Ghali live through his songs. His rendition of “Maria,” while in close proximity to its original delivery, felt more like the nonexistent “West Side Story” mixtape. Swagger was Ghali’s strength as he became Tony, an honorary Jet.

Pallete’s Maria, too, led with a radio-friendly -- OK, streaming-friendly -- tone. Unwavering in the tall order that is Maria’s vocal part, Pallete was unrivaled in vocal consistency and character presence.

Isabella Ramirez as Anita, an arguable fan-favorite character, commanded with what is best known as a triple threat in the acting world. “America,” a standout number, was a testament for Ramirez’s prowess. She, surrounded by an equally-gifted ensemble of six Shark Girls, danced through that number like the rent was due.

The choreography, dynamic in nature, reminds of what came before. Christina Sohns Williams, understanding the pulse of the original, gave the production a lot of space to come alive. In doing so, it allowed some of the actors to prescribe life into what could normally be read as background work.

An example of this can be witnessed when breathing in a number like “Dance At The Gym,” a showcase of the show’s collective talent. Max Wetherhold (Action), Dylan Penyak (Big Deal), Deborah Katz (Velma) and Jenna Williamson (Anyone) delivered work that gave the same weight as a leading role.

The larger ensemble, as a concentrated experiment in prolonged dexterity, also left no room for stillness. Every person on stage had a purpose.

Yul Carrión and Callum Sullivan, rivaling gang leaders, gave a commendable performance highlighting traits similar to those represented by political leaders during election year. They were infinitely believable, reliable narrators of the Jets and Sharks perspective. Both could fill in for Bernardo and Riff at any point in their career.

Bill Mutimer would have been proud of the shared devotion throughout this season’s opener. No adjective, no description, no review, can truly capture what was seen.

The show interjects with a seeming mantra toward the end: “I have a love and it’s all that I have.”

The cast of “West Side Story” adopted this sentiment and did just that, they performed love like it is all they have.

“West Side Story,” 7:30 p.m. June 12, 13, 14, 15; 2 p.m. June 16; Northampton Community College Summer Theatre, Lipkin Theater, Northampton Community College, 3835 Green Pond Road, Bethlehem Township. 484-484-3412, https://www.ncctix.org/