HALTOM F INE ARTSpresents

HALTOM F INE ARTSpresents

WESTSIDE

STORY

THIS is Tony’s STORY

Tony’s death leaves a legacy.

COMMANDING IMAGES for Design One Hand One Heart

RISE ABOVEBlood runs through

COMMANDING IMAGES for Characters Jets: hover, circle, swoop, flip, ride in tandem, /rescue. Used for honorable services. Are wind

blown Engines.... Rev Rockets / Turbo JetsSubsonic, supersonic, transonic, hypersonic

We see this in the Jet song- jet formations, individual characterizations with revving, rocketing, propelling, holding idle, hovering, etc. add speeds and levels too. We really see it in “cool” as each wants to fly, ignite, pop, explode…

Sharks: smell blood, circle, jump, scatter, bite, devour/ protect. Are slick and shiny. Sharks must keep moving in order to breathe and stay afloat. Members of this species tend to bear young early.  They are heavy fishes.

Dresses in “America” represent birds in flight symbolizing the girls promises if they picked up and flew to America. The dance should allow for the use of the dresses to create flying birds.

SUPEROBJECTIVEWill Tony overcome history?

THEMEAt what point does the

American Dream become a

nightmare and at what cost.

INTERESTSWill Tony and Maria hook up?

Who is going to die?How will they die?

Last Moment of the show- all look up!-

(rise above)

NEW YORK’s East Harlem1957

Puerto Rican Americans 1957A promise of the American Dream

HopeProsperityOpportunityEducation

INITIAL MIGRATIONIn 1948, the Migration Division of the Department of Labor of Puerto Rico opened its office in New York City. Its mission was to mediate between the island and the New York/Puerto Rican community, assuage the adjustment experience of new arrivals, and generally inform them about jobs, housing and other critical concerns.

ESTABLISHING A HOME It wasn't long before the Puerto Rican "Barrios" in Spanish Harlem and Manhattan's Lower East Sidebegan to resemble "Little Puerto Ricos"

with their "Bodegas" (small grocery

stores)

and ”Piragueros” (Puerto Rican shaved ice venders) in every corner.

It is estimated that from 1946 to 1950 there were 31,000 Puerto Rican migrants each year to New York.

BUILDING THE COMMUNITYThe third great wave of domestic migration from Puerto Rico came after World War II. Nearly 40,000 Puerto Ricans settled in New York City in 1946, and 58,500 in 1952–53.

Many soldiers who returned after World War II made use of the GI billl and went to college.

Puerto Rican women confronted economic exploitation, discrimination, racism, and the insecurities inherent in the migration process on a daily basis, however they fared better than did men in the job market.

The women left their homes for the factoriesin record numbers.

By 1953, Puerto Rican migration to New York reached its peak when 75,000 people left the island.

MAKING A LIVINGOperation Bootstrap ("Operación Manos a la Obra") is the name given to the ambitious projects which industrialized Puerto Rico in the mid-20th century . The industry that was attracted did not provide sufficient jobs. With increased population growth and displacement from traditional labor pursuits, the growing population could not be accommodated. Much of the surplus labor migrated to the United States.

In 1948 New York Mayor Robert F. Wagner Jr. began a campaign to recruit Puerto Rican laborers in the island to work in the city's factories. Mayor Wagner figured that the city would benefit greatly by the luring of what was considered to be "cheap labor".

DISCRIMINATIONDiscrimination was rampant in the United States and it was no different in New York. There were signs in restaurants which read "No dogs or Puerto Ricans allowed".

The Puerto Rican Nationalist Party established an office in New York in the 1950s and attracted many migrants. Leaders of the party conceived a plan that would involve an attack on the Blair House with the intention of assassinating United States President Harry S. Truman and an attack on the House of Representatives.

These events had a negative impact on the Puerto Rican migrants. Americans viewed Puerto Ricans as anti-Americans and the discrimination against them became even more widespread.

FEAR and SURVIVALMany Puerto Ricans were able to overcome these obstacles and became respected members of their communities. Many such as Antonia Pantoja, established organizations such as "ASPIRA", that helped their fellow countrymen to reach their goals.

The first New York Puerto Rican Day Parade was held on Sunday, April 12, 1958 in the "Barrio" in Manhattan.

Therefore, I believe our story takes place in the

summer of 1957 with hope that the events of this story will change the course of

history.

New Yorkers 1957Even though they didn’t spend all their time in wild, free-for-all rumbles, violence was a part of the gang life and homicides took place with frequent regularity as the 1950s marched along.

In the 1950s New York City experienced massive ethnic changes that transformed entire neighborhoods from one ethnic enclave to a totally new one, sometimes within a decade.  These ethnic transformations did not come without growing pains, however.  Residents who had been living in these transformative neighborhoods for their entire lives were resistant to these newcomers.  Most of the new residents were Blacks from the Deep South and Puerto Ricans emigrating from Puerto Rico doing their best to achieve the Great American Dream.

East Harlem was one of these neighborhoods that experienced an influx of newcomers. Predominantly Italian since the 1930s, East Harlem was once known as Italian Harlem.  Thousands of Italians made their cultural mark and settled east of Lexington between 96th and 116thand other areas.  However, by the 1950s, this was rapidly changing. 

Large chunks of East Harlem were razed to make way for public housing such as the Jefferson Houses.  These housing projects did much to displace Italian identity and dislocated large swathes of Italians who were forced to find new homes away from East Harlem.  The residents that moved into the public housing were generally low-income and with few programs available, a sense of community for them was lacking.

Although some Italians moved into the housing projects, it was generally Puerto Ricans who moved into East Harlem, eager to make a new start.  With fresh memories of friends and family being forced to move away, Italians were not pleased about their new neighbors.  Predictably, a collision of cultures transpired.  Italian youth resented outsiders and prevented Puerto Ricans and Blacks from using the pool at Jefferson Park.  Puerto Rican youth struggled to adjust to a school system alien to them and did their best to learn English.  They attempted to learn the customs of New York City, while retaining their culture.  Puerto Rican youths, tired of being assaulted on the streets, formed gangs like the Viceroys and Dragons to protect themselves. 

Italian youth had their own gangs — the powerful Red Wings for example, who hung out in Jefferson Park, doing their best to hold back the outsiders.

Throughout the 1950s, these East Harlem gangs battled each other, with fights and rumbles sometimes ending in death for young victims, both gang and non-gang related.  Seven Red Wings were tried and convicted for this brutal murder and sent to prison.  With killings like this, it was obvious that East Harlem and city-wide youth gangs were hardly the almost idealistic gangs represented in West Side Story.  Murders such as this were very real and all too tragic.

Gangs like the Viceroys and Dragons that inspired West Side Story are no longer around.  They have long since disappeared under the weight of relentless time, a heroin epidemic and persistent gang intervention from the New York City Youth Board.  All we have left are their memories and the realization that turbulence amongst youth in New York City in the 1950s was an acute problem.

Puerto Ricans

Italians, Irish, Polish, Russians, Jewish, Chinese, Germans, etc.

What do we all have in common?

What do we all have in common?

The Catholic Church

What do we all have in common?

The Catholic ChurchAnita with rosary Maria with cross necklace

Church bells at important moments

Catholic symbols for both sides although neither side recognizes the common ground.

Tony does, Maria does

Doc and Anita do- but can’t

COSTUMES

Maria- Cream and Burgandy and RoseTony- Cream and Burgandy and Charcoal

Bernardo- Black and Purple (passion)Anita- Black and Purple (passion)

Action-Blood OrangeRiff- Blood Orange

Chino- Ash

Jets- Mint, Apricot, Coral, lemon, pear, and other monochromatic variations of this

Sharks- Rose, lilac, sky blue and other monochromatic variations of this

SET DESIGN

SET NOTES:

STAGE LEFT- Much Higher than Stage Right.Jets have soda shop "doc'sDown left from wings and just about 3 feet-Chain fence- but for park entry that extends out about 20 feet end of show – some of it can come from up right to meet in center.Tony's homeStone stairs with slide like rails for “Officer Krumpke” that can roll out of Street scenes for The Dance “cool” Inside Soda Shop.

STAGE RIGHT- Garden Terrace in highest point and lower than Jets highest point.Sharks have sewing shop A low garden Terrace A balcony outside of Maria's roomFor “America”- add matching railing on stage floor to connect with metal stairs and garden terrace- light well and make the location a two story set.

Shop opens out from under the terraceBalcony extends from terrace separated by a little brick and ledge allowing playful trek for Tony to get to it.

Both have multiple stair cases and landings

CENTER: The space between the two is "common". Catholic CHURCH- this could be a cream stone steeple with bell. Does not need to take up much space and can appear to be way in the distance- but is the highest point of the set.

Enter the gym from up center- drop in string lights or other décor and perhaps a baskets ball hoop and backing with décor.

CONCEPTUAL SET NOTES:

Jets side is up high hovering over the street while the Sharks reside low and hidden .

Jets have lots of open windows where you can see stories of all New Yorkers - folks peer out over.

Sharks have a lot of closed doors and curtains -open only when safe to come out.

Check color trends of the period with PR behind the trends

“Tonight” will showcase these openings with window stories.

Cream, burgundy, and charcoal grey run through both sides- as it

get closer to center its is more intensely those three with cream at the very center symbolizing

THE CATHOLIC CHURCH through a structure like steeple

with a bell.The bell sounds at poignant moment in the show.

SET

Texture and depth is KEY- nothing should feel flat- our show is stylized so that real moments with Tony and Maria really pop.

Brick and Cinderblock Textured Buildings with color accents

Paint should look dripped on.

Brick and Cinderblock Textured Buildings with color accents goingLeft to Right

Burgandy, blues, burgandy, purples, burgandy, cream, burgandy, greens, burgandy oranges, burgandy

Paint should look dripped on- like blood running through.

GRAPHIC DESIGN

TWO HANDS as oneholding a heart

with a light drip of bloodand hands raised high

Name Gender Part Size Vocal PartTony Male Lead TenorRiff Male Lead TenorMaria Female Lead SopranoAnita Female Lead Mezzo-SopranoBernardo Male Lead BaritoneChino Male Supporting SpokenAction Male Supporting BaritoneAnybodys Female Featured SpokenDetective Schrank Male Featured SpokenDoc Male Featured SpokenOfficer Krupke Male Featured SpokenDiesel Male Featured BaritoneBaby John Male Featured BaritoneA-Rab Male Featured BaritoneSnowboy Male Featured BaritoneVelma Female Featured Mezzo-SopranoGraziella Female Featured Mezzo-SopranoPepe Male Featured BaritoneConsuelo Female Featured Mezzo-SopranoRosalia Female Featured Mezzo-SopranoGlad Hand Male Featured SpokenJets Male Ensemble VariousJets’ Girls Female Ensemble VariousSharks Male Ensemble VariousSharks Girls Female Ensemble Various

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Sharksresearch by Catie

Pool

Sharks survive by always moving

forward

The Sharks can’t move backwards in history, they are always moving forward in an attempt to catch up with society and the time. Like the fish with poachers the sharks are in a place where there is someone above, who isn’t particularly fond of them.

Similar to actual sharks, the Puerto Rican sharks are sleek.

The hairstyles for men were slicked back and for women put into a tight up-do.

Sharks are shiny.The sharks mannerisms shine on their words and allow them to be very expressive. Friends normally greet by kissing each other. Animated conversation is a social asset. Posture when standing or sitting is not perfect. Shoulders are pushed forward some, when sitting women cross their ankles, and faces/chins straight ahead rather than up.

Jetsresearch by Haley

Kimbrough

Common Ground

research by Hannah Hightshoe