I Feel Pretty opens the second act, after the Rumble. Maria, blissfully unaware of Bernardo’s death at the hand of Tony, sings and dances around the bridal shop at which she works. This placement shuts Maria out of the world in which the ‘real’ and serious drama unfolds.  Her character, therefore, seems detached from the tragic plot and even superficial at this point.

Maria’s musical self seems to exist only in relation to Tony; even “I Feel Pretty,” the first song that Maria sings without Tony, refers directly to her love for him. Surrounded by women in the bridal shop, Maria sings without Tony for the first time. The scene opens with Maria in mid-shot, trying on various hats in the mirror. As the dialogue between Maria, Rosalia, and Consuelo begins, the love struck Maria continues to “doll” herself up. The ensuing song, “I Feel Pretty” provides an extension of the visual focus on looks. Negrón Muntaner posits that “Maria only feels pretty when a white man, Tony, sees her”.  Maria’s happiness manifests as a feeling of prettiness, and the cause of her happiness is not only a man, but a white “American” man.

Her exultation in Tony’s love reflects her ultimate goal to become Americanized. The Spanish guitar and use of the tambourine in the music keep Maria within the realm of the “Hispanic.” However, the music notably takes on a more explicit “Spanish” sound when the other girls sing. This is exemplified by the addition of castanets and highlighted in dance when Maria performs a pseudo-flamenco style dance. Despite the marginally “Hispanic” sounding music, the lyrics directly reflect Maria’s desire to be a “young lady of America.” Sondheim included lyrics about Miss America that imply this position would be “the highest pinnacle that she could reach.”

I Feel Pretty demonstrates the basic operatic relationship between soloist and chorus.