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West Side Story

Original cast recording

Music Leonard Bernstein

Lyrics Stephen Sondheim

Book Arthur Laurents

Basis Romeo and Juliet by WilliamShakespeare

Productions 1957 Washington,D.C. (tryout) 1957 Philadelphia(tryout) 1957 Broadway 1958 West End 1959 US tour 1960 Broadway(return) 1961 Film 1964 Broadway 1974 West End 1980 Broadway 1984 West End 1985 US tour 1995 US tour 1998 West End 2009 Broadway 2010 US tour

West Side StoryWest Side Story is a musical with book by Arthur Laurents, music by

Leonard Bernstein and lyrics by Stephen Sondheim.[1] It was inspired by

William Shakespeare's play Romeo and Juliet.

The story is set in the Upper West Side neighborhood in New York City in the

mid 1950s, an ethnic, blue-collar neighborhood (in the early 1960s, much of

the neighborhood was cleared in an urban renewal project for Lincoln Center,

which changed the neighborhood's character).[2][3] The musical explores the

rivalry between the Jets and the Sharks, two teenage street gangs of different

ethnic backgrounds. The members of the Sharks, from Puerto Rico, are taunted

by the Jets, a white gang.[4] The young protagonist, Tony, a former member of

the Jets and best friend of the gang's leader, Riff, falls in love with Maria, the

sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated

music, extended dance scenes, and focus on social problems marked a turning

point in American musical theatre. Bernstein's score for the musical includes

"Jet Song", "Something's Coming", "Maria", "Tonight", "America", "Cool",

"One Hand, One Heart", "I Feel Pretty", "Somewhere", "Gee, Officer Krupke"

and "A Boy Like That".

The original 1957 Broadway production, conceived, directed and

choreographed by Jerome Robbins and produced by Robert E. Griffith and

Harold Prince, marked Sondheim's Broadway debut. It ran for 732

performances before going on tour. The production was nominated for six

Tony Awards including Best Musical in 1957,[5] but the award for Best Musical

went to Meredith Willson's The Music Man. Robbins won the Tony Award for

his choreography and Oliver Smith won for his scenic designs. The show had

an even longer-running London production, a number of revivals and

international productions. A 1961 musical film adaptation, directed by Robert

Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno,

George Chakiris and Russ Tamblyn. The film was nominated for eleven

Academy Awards and won ten, including George Chakiris for Supporting

Actor, Rita Moreno for Supporting Actress, and Best Picture.

BackgroundGenesisCollaboration and developmentProduction period

SynopsisAct 1

Contents

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Act 2

CharactersCastsMusical numbers

Act 1Act 2

ProductionsOriginal Broadway productionUK productions1980 Broadway revival2009 Broadway revivalPlanned 2019 Broadway revivalOther notable US productions and toursInternational productions

Critical reactionScoreRecordingsFilmsReferences in popular cultureAwards and nominations

Original Broadway production1964 Broadway revival1980 Broadway revival2008 West End revival2009 Broadway revival

ReferencesSourcesFurther readingExternal links

In 1947, Jerome Robbins approached Leonard Bernstein and Arthur Laurents about collaborating on a contemporary

musical adaptation of Romeo and Juliet. He proposed that the plot focus on the conflict between an Irish Catholic family

and a Jewish family living on the Lower East Side of Manhattan,[6] during the Easter–Passover season. The girl has

survived the Holocaust and emigrated from Israel; the conflict was to be centered around anti-Semitism of the Catholic

"Jets" towards the Jewish "Emeralds" (a name that made its way into the script as a reference).[7] Eager to write his first

musical, Laurents immediately agreed. Bernstein wanted to present the material in operatic form, but Robbins and

Laurents resisted the suggestion. They described the project as "lyric theater", and Laurents wrote a first draft he called

East Side Story. Only after he completed it did the group realize it was little more than a musicalization of themes that had

already been covered in plays like Abie's Irish Rose. When he opted to drop out, the three men went their separate ways,

and the piece was shelved for almost five years.[8][9]

Background

Genesis

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In 1955, theatrical producer Martin Gabel was working on a stage

adaptation of the James M. Cain novel Serenade, about an opera

singer who comes to the realization he is homosexual, and he invited

Laurents to write the book. Laurents accepted and suggested

Bernstein and Robbins join the creative team. Robbins felt if the

three were going to join forces, they should return to East Side Story,

and Bernstein agreed. Laurents, however, was committed to Gabel,

who introduced him to the young composer/lyricist Stephen

Sondheim. Sondheim auditioned by playing the score for SaturdayNight, his musical that was scheduled to open in the fall. Laurents

liked the lyrics but was not impressed with the music. Sondheim did

not care for Laurents' opinion. Serenade ultimately was shelved.[10]

Laurents was soon hired to write the screenplay for a remake of the

1934 Greta Garbo film The Painted Veil for Ava Gardner. While in

Hollywood, he contacted Bernstein, who was in town conducting at

the Hollywood Bowl. The two met at The Beverly Hills Hotel, and the conversation turned to juvenile delinquent gangs, a

fairly recent social phenomenon that had received major coverage on the front pages of the morning newspapers due to a

Chicano turf war. Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more

familiar with Puerto Ricans in the United States and Harlem than he was with Mexican Americans and Olvera Street. The

two contacted Robbins, who was enthusiastic about a musical with a Latin beat. He arrived in Hollywood to choreograph

the dance sequences for The King and I, and he and Laurents began developing the musical while working on their

respective projects, keeping in touch with Bernstein, who had returned to New York. When the producer of The PaintedVeil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind, he backed out of the

film, freeing him to devote all his time to the stage musical.[11]

In New York City, Laurents went to the opening night party for a new play by Ugo Betti. There he met Sondheim, who had

heard that East Side Story, now retitled West Side Story, was back on track. Bernstein had decided he needed to

concentrate solely on the music, and he and Robbins had invited Betty Comden and Adolph Green to write the lyrics, but

the team opted to work on Peter Pan instead. Laurents asked Sondheim if he would be interested in tackling the task.

Initially he resisted, because he was determined to write the full score for his next project (Saturday Night had been

aborted). But Oscar Hammerstein convinced him that he would benefit from the experience, and he accepted.[12]

Meanwhile, Laurents had written a new draft of the book changing the characters' backgrounds: Anton, once an Irish

American, was now of Polish and Irish descent, and the formerly Jewish Maria had become a Puerto Rican.[13]

The original book Laurents wrote closely adhered to Romeo and Juliet, but the characters based on Rosaline and the

parents of the doomed lovers were eliminated early on. Later the scenes related to Juliet's faking her death and

committing suicide also were deleted. Language posed a problem; four-letter curse words were uncommon in the theater

at the time, and slang expressions were avoided for fear they would be dated by the time the production opened. Laurents

ultimately invented what sounded like real street talk but actually was not: "cut the frabba-jabba", for example.[14]

Sondheim converted long passages of dialogue, and sometimes just a simple phrase like "A boy like that would kill your

brother", into lyrics. With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move "One

Hand, One Heart", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a

result "Tonight" was written to replace it. Laurents felt that the building tension needed to be alleviated in order to

increase the impact of the play's tragic outcome, so comic relief in the form of Officer Krupke was added to the second act.

L-R: Elizabeth Taylor, Carmen Guitterez,Marilyn Cooper, and Carol Lawrence from theoriginal Broadway cast sing "I Feel Pretty"(1957)

Collaboration and development

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He was outvoted on other issues: he felt the lyrics to "America" and "I Feel Pretty" were too witty for the characters singing

them, but they stayed in the score and proved to be audience favorites. Another song, "Kid Stuff", was added and quickly

removed during the Washington, D.C. tryout when Laurents convinced the others it was helping tip the balance of the

show into typical musical comedy.[15]

Bernstein composed West Side Story and Candide concurrently, which led to some switches of material between the two

works.[16] Tony and Maria's duet, "One Hand, One Heart", was originally intended for Cunegonde in Candide. The music

of "Gee, Officer Krupke" was pulled from the Venice scene in Candide.[17] Laurents explained the style that the creative

team finally decided on:

Just as Tony and Maria, our Romeo and Juliet, set themselves apart from the other kids by their love, so we

have tried to set them even further apart by their language, their songs, their movement. Wherever possible

in the show, we have tried to heighten emotion or to articulate inarticulate adolescence through music, song

or dance.[18]

The show was nearly complete in the fall of 1956, but almost everyone on the creative team needed to fulfill other

commitments first. Robbins was involved with Bells Are Ringing, then Bernstein with Candide, and in January 1957 AClearing in the Woods, Laurents' latest play, opened and quickly closed.[19] When a backers' audition failed to raise any

money for West Side Story late in the spring of 1957, only two months before the show was to begin rehearsals, producer

Cheryl Crawford pulled out of the project.[20] Every other producer had already turned down the show, deeming it too

dark and depressing. Bernstein was despondent, but Sondheim convinced his friend Hal Prince, who was in Boston

overseeing the out-of-town tryout of the new George Abbott musical New Girl in Town, to read the script. He liked it but

decided to ask Abbott, his longtime mentor, for his opinion, and Abbott advised him to turn it down. Prince, aware that

Abbott was the primary reason New Girl was in trouble, decided to ignore him, and he and his producing partner Robert

Griffith flew to New York to hear the score.[21] In his memoirs, Prince recalled, "Sondheim and Bernstein sat at the piano

playing through the music, and soon I was singing along with them."[17]

Prince began cutting the budget and raising money. Robbins then announced he did

not want to choreograph the show, but changed his mind when Prince agreed to an

eight-week dance rehearsal period (instead of the customary four), since there was to

be more dancing in West Side Story than in any previous Broadway show,[17] and

allowed Robbins to hire Peter Gennaro as his assistant.[22] Originally, when

considering the cast, Laurents wanted James Dean for the lead role of Tony, but the

actor soon died. Sondheim found Larry Kert and Chita Rivera, who created the roles of

Tony and Anita, respectively. Getting the work on stage was still not easy. Bernstein

said:

Everyone told us that [West Side Story] was an impossible project ... And

we were told no one was going to be able to sing augmented fourths, as

with "Ma-ri-a" ... Also, they said the score was too rangy for pop music ...

Besides, who wanted to see a show in which the first-act curtain comes

down on two dead bodies lying on the stage?... And then we had the really

tough problem of casting it, because the characters had to be able not

only to sing but dance and act and be taken for teenagers. Ultimately,

Production period

Larry Kert as Tony, originalBroadway production(1957)

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some of the cast were teenagers, some were 21, some were 30 but looked

16. Some were wonderful singers but couldn't dance very well, or vice

versa ... and if they could do both, they couldn't act.[23]

Throughout the rehearsal period, the New York newspapers were filled with articles

about gang warfare, keeping the show's plot timely. Robbins kept the cast members

playing the Sharks and the Jets separate in order to discourage them from socializing

with each other and reminded everyone of the reality of gang violence by posting news

stories on the bulletin board backstage.[24] Robbins wanted a gritty realism from his

sneaker- and jeans-clad cast. He gave the ensemble more freedom than Broadway

dancers had previously been given to interpret their roles, and the dancers were thrilled

to be treated like actors instead of just choreographed bodies.[25] As the rehearsals

wore on, Bernstein fought to keep his score together, as other members of the team

called on him to cut out more and more of the sweeping or complex "operatic"

passages.[17] Columbia Records initially declined to record the cast album, saying the

score was too depressing and too difficult.[7]

There were problems with Oliver Smith's designs. His painted backdrops were stunning, but the sets were, for the most

part, either shabby looking or too stylized. Prince refused to spend money on new construction, and Smith was obliged to

improve what he had as best he could with very little money to do it.[26] The pre-Broadway run in Washington, D.C. was a

critical and commercial success, although none of the reviews mentioned Sondheim, listed as co-lyricist, who was

overshadowed by the better-known Bernstein. Bernstein magnanimously removed his name as co-author of the lyrics,

although Sondheim was uncertain he wanted to receive sole credit for what he considered to be overly florid contributions

by Bernstein. Robbins demanded and received a "Conceived by" credit, and used it to justify his making major decisions

regarding changes in the show without consulting the others. As a result, by opening night on Broadway, none of his

collaborators were talking to him.[27]

It has been rumored that while Bernstein was off trying to fix the musical Candide, Sondheim wrote some of the music for

West Side Story, and that Bernstein's co-lyricist billing mysteriously disappeared from the credits of West Side Storyduring the tryout, presumably as a trade-off.[28] However, Suskin writes in Show Tunes that "As the writing progressed

and the extent of Bernstein's lyric contributions became less, the composer agreed to rescind his credit...Contrary to

rumor, Sondheim did not write music for the show; his only contribution came on "Something's Coming", where he

developed the main strain of the chorus from music Bernstein wrote for the verse.[29])

Two rival teenage gangs, the Jets (White Americans) and the Sharks (Puerto Rican Americans), struggle for control of

their neighborhood on the Upper West Side of New York City (Prologue). They are warned by police officers Krupke and

Lt. Schrank to stop fighting on their beat. The police chase the Sharks off, and then the Jets plan how they can assure their

continued dominance of the street. The Jets' leader, Riff, suggests setting up a rumble with the Sharks. He plans to make

the challenge to Bernardo, the Sharks' leader, that night at the neighborhood dance. Riff wants to convince his friend and

former member of the Jets, Tony, to meet the Jets at the dance. Some of the Jets are unsure of his loyalty, but Riff is

Kert and Lawrence in thebalcony scene (1957)

Synopsis

Act 1

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adamant that Tony is still one of them ("Jet Song"). Riff meets Tony while he's working at Doc's Drugstore to persuade

him to come. Tony initially refuses, but Riff wins him over. Tony is convinced that something important is round the

corner ("Something's Coming").

Maria works in a bridal shop with Anita, the girlfriend of her brother, Bernardo. Maria has just arrived from Puerto Rico

for her arranged marriage to Chino, a friend of Bernardo's. Maria confesses to Anita that she is not in love with Chino.

Anita makes Maria a dress to wear to the neighborhood dance.

At the dance, after introductions, the teenagers begin to dance; soon a

challenge dance is called ("Dance at the Gym"), during which Tony and Maria

(who aren't taking part in the challenge dance) see each other across the room

and are drawn to each other. They dance together, forgetting the tension in the

room, and fall in love, but Bernardo pulls his sister from Tony and sends her

home. Riff and Bernardo agree to meet for a War Council at Doc's, a drug store

which is considered neutral ground, but meanwhile, an infatuated and happy

Tony finds Maria's building and serenades her outside her bedroom ("Maria").

She appears on her fire escape, and the two profess their love for one another

("Tonight"). Meanwhile, Anita, Rosalia, and the other Shark girls discuss the

differences between the territory of Puerto Rico and the mainland United

States of America, with Anita defending America, and Rosalia yearning for

Puerto Rico ("America").

The Jets get antsy while waiting for the Sharks inside Doc's Drugstore. Riff helps them let out their aggression ("Cool").

The Sharks arrive to discuss weapons to use in the rumble. Tony suggests "a fair fight" (fists only), which the leaders agree

to, despite the other members' protests. Bernardo believes that he will fight Tony, but must settle for fighting Diesel, Riff's

second-in-command, instead. This is followed by a monologue by the ineffective Lt. Schrank trying to find out the location

of the rumble. Tony tells Doc about Maria. Doc is worried for them while Tony is convinced that nothing can go wrong; he

is in love.

The next day, Maria is in a very happy mood at the bridal shop, as she

anticipates seeing Tony again. However, she learns about the upcoming rumble

from Anita and is dismayed. When Tony arrives, Maria asks him to stop the

fight altogether, which he agrees to do. Before he goes, they dream of their

wedding ("One Hand, One Heart"). Tony, Maria, Anita, Bernardo and the

Sharks, and Riff and the Jets all anticipate the events to come that night

("Tonight Quintet"). The gangs meet under the highway and, as the fight

between Bernardo and Diesel begins, Tony arrives and tries to stop it. Though

Bernardo taunts and provokes Tony, ridiculing his attempt to make peace,

Tony keeps his composure. When Bernardo pushes Tony, Riff punches him in

Tony's defense. The two draw their switchblades and get in a fight ("The

Rumble"). Tony attempts to intervene, inadvertently leading to Riff being fatally stabbed by Bernardo. Tony kills Bernardo

in a fit of rage, which in turn provokes an all-out fight like the fight in the Prologue. The sound of approaching police

sirens is heard, and everyone scatters, except Tony, who stands in shock at what he has done. The tomboy Anybodys, who

stubbornly wishes that she could become a Jet, tells Tony to flee from the scene at the last moment and flees with the

knives. Only the bodies of Riff and Bernardo remain.

The Shark girls extol the virtues of"America" in Portland CenterStage's production of West SideStory in 2007.

Tony stabs Bernardo in the 1957Broadway production.

Act 2

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Blissfully unaware of the gangs' plans for that night, Maria daydreams with her friends,

Rosalia, Consuelo, Teresita and Francisca, about seeing Tony ("I Feel Pretty"). Later, as

Maria dances on the roof happily because she has seen Tony and believes he went to stop

the rumble, Chino brings the news that Tony has killed Bernardo. Maria flees to her

bedroom, praying that Chino is lying. Tony arrives to see Maria and she initially pounds on

his chest with rage, but she still loves him. They plan to run away together. As the walls of

Maria's bedroom disappear, they find themselves in a dreamlike world of peace

("Somewhere").

Two of the Jets, A-Rab and Baby John, are set on by Officer Krupke, but they manage to

escape him. They meet the rest of the gang. To cheer themselves up, they lampoon Officer

Krupke, and the other adults who don't understand them ("Gee, Officer Krupke").

Anybodys arrives and tells the Jets she has been spying on the Puerto Ricans; she has

discovered that Chino is looking for Tony with a gun. The gang separates to find Tony.

Action has taken charge; he accepts Anybodys into the Jets and includes her in the search.

A grieving Anita arrives at Maria's apartment. As Tony leaves, he tells Maria to meet him at

Doc's so they can run away to the country. In spite of her attempts to conceal it, Anita sees

that Tony has been with Maria, and launches an angry tirade against him ("A Boy Like That"). Maria counters by telling

Anita how powerful love is ("I Have a Love"), and Anita realizes that Maria loves Tony as much as she had loved Bernardo.

She admits that Chino has a gun and is looking for Tony. Lt. Schrank arrives to question Maria about her brother's death,

and Anita agrees to go to Doc's to tell Tony to wait. Unfortunately, the Jets, who have found Tony, have congregated at

Doc's, and they taunt Anita with racist slurs and eventually simulate rape. Doc arrives and stops them. Anita is furious,

and in anger spitefully delivers the wrong message, telling the Jets that Chino has shot Maria dead.

Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with Maria. Feeling

there is no longer anything to live for, Tony leaves to find Chino, begging for him to shoot him as well. Just as Tony sees

Maria alive, Chino arrives and shoots Tony. The Jets, Sharks, and adults flock around the lovers. Maria holds Tony in her

arms (and sings a quiet, brief reprise of "Somewhere") as he dies. Angry at the death of another friend, the Jets move

towards the Sharks but Maria takes Chino's gun and tells everyone that "all of [them]" killed Tony and the others because

of their hate for each other, and, "Now I can kill too, because now I have hate!" she yells. However, she is unable to bring

herself to fire the gun and drops it, crying in grief. Gradually, all the members of both gangs assemble on either side of

Tony's body, showing that the feud is over. The Jets and Sharks form a procession, and together carry Tony away, with

Maria the last one in the procession.

The Jets

Riff, the leaderTony, Riff's best friendDiesel (Ice in film), Riff's lieutenantAction, A-Rab, Baby John, Big Deal, Gee-Tar, Mouthpiece, Snowboy, Tiger and Anybodys

The Jet Girls

Velma, Riff's girlfriendGraziella, Diesel's girlfriendMinnie, Clarice and Pauline

The Sharks

Tony (Justin Gordon)and Maria (Erica Racz)in a Pacific RepertoryTheatre production in2001.

Characters

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Bernardo, the leaderChino, his best friendPepe, second-in-commandIndio, Luis, Anxious, Nibbles, Juano, Toro and Moose

The Shark Girls

Maria, Bernardo's sisterAnita, Bernardo's girlfriendRosalia, Consuelo, Teresita, Francisca, Estella and Marguerita

The Adults

Doc, owner of the local drugstore/soda shop.Schrank, racist local police lieutenant.Krupke, neighborhood cop and Schrank's right hand man.Glad Hand, well meaning social worker in charge of the dance.

CharacterOriginal Broadway

Cast 1957

Original West End1958

Broadway Revival 1980

Broadway Revival 2009

Tony Larry Kert Don McKay Ken Marshall Matt Cavenaugh

Maria Carol Lawrence Marlys Watters Josie de Guzman Josefina Scaglione

Riff Michael Callan George Chakiris James J. Mellon Cody Green

Bernardo Ken LeRoy Héctor JaimeMercado George Akram

Anita Chita Rivera Debbie Allen Karen Olivo

Lt. Schrank Arch Johnson Ted Gunther Arch Johnson Steve Bassett

Doc Art Smith David Bauer Sammy Smith Greg Vinkler

Krupke William Bramley Hal Galili John Bentley Lee Sellars

"Prologue" – Orchestra, danced by Jets &Sharks"Jet Song" – Riff & Jets"Something's Coming" – Tony"The Dance at the Gym" – Jets & Sharks"Maria" – Tony"Tonight" – Tony & Maria"America" – Anita, Rosalia, & Shark Girls"Cool" – Riff & Jets"One Hand, One Heart" – Tony & Maria"Tonight (Quintet & Chorus)" – Company

"I Feel Pretty" – Maria, Rosalia, Estella, &Consuelo"Somewhere" – Consuelo, danced byCompany"Gee, Officer Krupke" – Action, Snowboy &Jets"A Boy Like That" – Anita & Maria"I Have a Love" – Anita & Maria"Finale" – Company

"Gee, Officer Krupke" sung by the Jets,original Broadway cast (1957)

Casts

Musical numbers

Act 1 Act 2

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"The Rumble" – Orchestra, danced by Riff,Bernardo, Sharks & Jets

Notes

In the 1964 and 1980 revivals, "Somewhere" was sung by Francisca rather than Consuelo.In the 2009 revival, "Cool" was performed by Riff, the Jets, and the Jet Girls. "I Feel Pretty" was sung in Spanish as"Siento Hermosa" and "A Boy Like That" was sung in Spanish as "Un Hombre Así". "Somewhere" was sung by Kiddo,a young Jet.

After tryouts in Washington, D.C. and Philadelphia beginning in August 1957, the original Broadway production opened at

the Winter Garden Theatre on September 26, 1957, to positive reviews. The production was directed and choreographed

by Jerome Robbins, orchestrated by Sid Ramin and Irwin Kostal, and produced by Robert E. Griffith and Harold Prince,

with lighting designed by Jean Rosenthal. The cast starred Larry Kert as Tony, Carol Lawrence as Maria, Chita Rivera as

Anita and David Winters as Baby John.[30] The other notable cast members in the original production were: Riff: Michael

Callan, A-Rab: Tony Mordente, Big Deal: Martin Charnin, Gee-Tar: Tommy Abbott, Chino: Jamie Sanchez, Rosalia:

Marilyn Cooper, Consuela [sic]: Reri Grist and Doc: Art Smith.[31] The production closed on June 27, 1959, after 732

performances.[30] Robbins won the Tony Award for Best Choreographer, and Oliver Smith won the Tony for Best Scenic

Designer. Also nominated were Carol Lawrence as Best Actress in a Supporting Role in a Musical, Max Goberman as Best

Musical Director and Conductor, and Irene Sharaff for Best Costume Design.[30] Carol Lawrence received the 1958

Theatre World Award.

The production's national tour was launched on July 1, 1959, in Denver and then played in Los Angeles, San Francisco,

Chicago, Detroit, Cincinnati, Cleveland, Baltimore, Philadelphia, and Boston. It returned to the Winter Garden Theater in

New York in April 1960 for another 249 performance engagement, closing in December.[32]

A 1958 production at the Manchester Opera House transferred to London, where it opened at Her Majesty's Theatre in the

West End on December 12, 1958, and ran until June 1961 with a total of 1,039 performances. Robbins directed and

choreographed, and it was co-choreographed by Peter Gennaro, with scenery by Oliver Smith. Featured performers were

George Chakiris, who won an Academy Award as Bernardo in the 1961 film version, as Riff, Marlys Watters as Maria, Don

McKay as Tony, and Chita Rivera reprising her Broadway role as Anita.[33] David Holliday, who had been playing

Gladhand since the London opening, took over as Tony.

A 1984 London production originated at Leicester Haymarket Theatre and transferred on May 16, 1984 to Her Majesty’s

Theatre. It closed September 28, 1985. The 1980 Broadway production was recreated by Tom Abbott. The cast starred

Steven Pacey as Tony and Jan Hartley as Maria. Maxine Gordon was Anybodys.[34]

A UK national tour started in 1997 and starred David Habbin as Tony, Katie Knight Adams as Maria and Anna-Jane Casey

as Anita. The production transferred to London's West End opening at the Prince Edward Theatre in October 1998,

transferring to the Prince of Wales Theatre where it closed in January 2000. The production subsequently toured the UK

for a second time.[35]

Productions

Original Broadway production

UK productions

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A Broadway revival opened at the Minskoff Theatre on February 14, 1980 and closed on November 30, 1980, after 333

performances. It was directed and choreographed by Robbins, with the book scenes co-directed by Gerald Freedman;

produced by Gladys Nederlander and Tom Abbott and Lee Becker Theodore assisted the choreography reproduction.[36]

The original scenic, lighting, and costume designs were used. It starred Ken Marshall as Tony, Josie de Guzman as Maria

and Debbie Allen as Anita. Both de Guzman and Allen received Tony Award nominations as Best Featured Actress in a

Musical, and the musical was nominated as Best Reproduction (Play or Musical). Allen won the Drama Desk Award as

Outstanding Featured Actress in a Musical. Other notable cast members in the revival included Brent Barrett as Diesel,

Harolyn Blackwell as Francisca, Stephen Bogardus as Mouth Piece and Reed Jones as Big Deal.

The Minskoff production subsequently opened the Nervi Festival in Genoa, Italy, in July 1981 with Josie de Guzman as

Maria and Brent Barrett as Tony.[37]

In 2007, Arthur Laurents stated, "I've come up with a way of doing [West Side Story] that will make it absolutely

contemporary without changing a word or a note."[38] He directed a pre-Broadway production of West Side Story at the

National Theatre in Washington, D.C. that ran from December 15, 2008, through January 17, 2009. The Broadway revival

began previews at the Palace Theatre on February 23, 2009, and opened on March 19, 2009.[39][40] The production wove

Spanish lyrics and dialogue into the English libretto. The translations are by Tony Award winner Lin-Manuel Miranda.

Laurents stated, "The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to

have authenticity. Every member of both gangs was always a potential killer even then. Now they actually will be. Only

Tony and Maria try to live in a different world".[41][42][43] In August 2009, some of the lyrics for "A Boy Like That" ("Un

Hombre Asi") and "I Feel Pretty" ("Me Siento Hermosa"), which were previously sung in Spanish in the revival, were

changed back to the original English. However, the Spanish lyrics sung by the Sharks in the "Tonight" (Quintet) remained

in Spanish.[44]

The cast featured Matt Cavenaugh as Tony, Josefina Scaglione as Maria and Karen Olivo as Anita.[45] Olivo won the Tony

Award for Best Featured Actress, while Scaglione was nominated for the award for Leading Actress.[46][47] The cast

recording won the Grammy Award for Best Musical Show Album.[48] In July 2010, the producers reduced the size of the

orchestra, replacing five musicians with an off-stage synthesizer.[49] The production closed on January 2, 2011 after 748

performances and 27 previews.[50] The revival sold 1,074,462 tickets on Broadway over the course of nearly two years.[51]

A Broadway revival of West Side Story is planned to begin previews on December 10, 2019 and officially open on February

6, 2020. It is set to be directed by Ivo van Hove and produced by Scott Rudin, with choreography by Anne Teresa De

Keersmaeker.[52]

The New York City Center Light Opera Company production played for a limited engagement of 31 performances from

April 8, 1964 to May 3, 1964. The cast featured Don McKay (Tony), Julia Migenes (Maria) and Luba Lisa (Anita). It was

staged by Gerald Freedman with choreography re-mounted by Tom Abbott.[53] The Musical Theater of Lincoln Center and

Richard Rodgers production opened at the New York State Theater, Lincoln Center, in June 1968 and closed in September

1980 Broadway revival

2009 Broadway revival

Planned 2019 Broadway revival

Other notable US productions and tours

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1968 after 89 performances. Direction and choreography were reproduced by Lee Theodore, and scenery was by Oliver

Smith. Tony was played by Kurt Peterson, with Victoria Mallory as Maria.[54] A 1987 U.S. tour starred Jack Wagner as

Tony, with Valarie Pettiford as Anita and was directed by Alan Johnson.[55]

A national tour, directed by Alan Johnson, was produced in 2002.[56] A national tour of the 2009 Broadway revival began

in October 2010 at the Fisher Theatre in Detroit, Michigan, and toured for two seasons.[57][58] The cast featured Kyle

Harris as Tony and Ali Ewoldt as Maria.[59]

The musical has also been adapted to be performed as Deaf Side Story using both English and American Sign Language,

with deaf Sharks and hearing Jets.[60]

The original Australian production opened in October 1960 at the Princess Theatre in Melbourne, before touring to the

Tivoli Theatre in Sydney in February 1961. Subsequent Australian national tours have been staged in 1983, 1994 and

2010.[61]

In 1961, a tour of Israel, Africa and the Near East was mounted. In February 1962, the West End (H. M. Tennent)

production launched a five-month Scandinavian tour opening in Copenhagen, continuing to Oslo, Gothenburg, Stockholm

and Helsinki. Robert Jeffrey took over from David Holliday as Tony and Jill Martin played Maria. In 1977, Amor SinBarreras was produced in Mexico City by Alfonso Rosas Prigo, & Ruben Boido, Direction by Ruben Boido, presented at

the Hidalgo Theater. Gualberto Castro played the part of Tony; Maria Medina was Maria, among other cast members was

Macaria. From 1982–1984 a tour of South America, Israel and Europe was mounted with talent from New York. The

Director/Choreographers for that production were Jay Norman and Lee Theodore, veterans of the original Broadway cast.

The Japanese Takarazuka Revue has performed the show twice. It was produced by the Moon Troupe in 1998 and again in

1999 by the Star Troupe. A Hong Kong production was produced in 2000 with Cantonese lyrics, featuring Hong Kong rock

star Paul Wong as Tony. It was staged at the outdoor plaza of Hong Kong Cultural Centre. Canada's Stratford Shakespeare

Festival performed West Side Story in 1999, starring Tyley Ross as Tony and Ma-Anne Dionisio as Maria, and again in

2009,[62]

The Austrian Bregenz Festival presented West Side Story in a German translation by Marcel Prawy in 2003 and 2004,

directed by Francesca Zambello, followed by a German tour.[63] A French language adaptation, translated by Philippe

Gobeille, opened in Montreal, Quebec, in March 2008.[64] A Philippine version played in 2008 at the Meralco Theater. It

featured Christian Bautista as Tony, Karylle and Joanna Ampil as Maria.[65]

An international tour (2005–2010), directed and choreographed by Joey McKneely played in Tokyo, Paris, Austria,

Switzerland, Germany, Singapore, São Paulo, France, Taiwan, China, Italy, Rotterdam and Madrid.[66][67] In 2011, a Lima

production was produced by "Preludio Asociación Cultural" with Marco Zunino as Tony, Rossana Fernández-Maldonado

as Maria, Jesús Neyra as Bernardo, Tati Alcántara as Anita and Joaquín de Orbegoso as Riff.[68]

The creators' innovations in dance, music and theatrical style drew enthusiastic reactions from the critics. Walter Kerr

wrote in the New York Herald Tribune on September 27, 1957:[69]

The radioactive fallout from West Side Story must still be descending on Broadway this morning. Director,

choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage,

restless, electrifying dance patterns we've been exposed to in a dozen seasons .... the show rides with a

International productions

Critical reaction

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catastrophic roar over the spider-web fire-escapes, the shadowed trestles, and the plain dirt battlegrounds of

a big city feud ... there is fresh excitement in the next debacle, and the next. When a gang leader advises his

cohorts to play it "Cool", the intolerable tension between an effort at control and the instinctive drives of

these potential killers is stingingly graphic. When the knives come out, and bodies begin to fly wildly

through space under buttermilk clouds, the sheer visual excitement is breathtaking .... Mr. Bernstein has

permitted himself a few moments of graceful, lingering melody: in a yearning "Maria", in the hushed falling

line of "Tonight", in the wistful declaration of "I Have a Love". But for the most part he has served the needs

of the onstage threshing machine ... When hero Larry Kert is stomping out the visionary insistence of

"Something's Coming" both music and tumultuous story are given their due. Otherwise it's the danced

narrative that takes urgent precedence ...

The other reviews generally joined in speculation about how the new work would influence the course of musical theater.

Typical was John Chapman's review in the New York Daily News on September 27, 1957, headed: "West Side Story a

Splendid and Super-Modern Musical Drama".

The American theatre took a venturesome forward step when the firm of Griffith & Prince presented West

Side Story at the Winter Garden last evening. This is a bold new kind of musical theatre – a juke-box

Manhattan opera. It is, to me, extraordinarily exciting .... the manner of telling the story is a provocative and

artful blend of music, dance and plot – and the music and the dancing are superb. In [the score], there is the

drive, the bounce, the restlessness and the sweetness of our town. It takes up the American musical idiom

where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it

marks the progression of an admirable composer ...

Time magazine found the dance and gang warfare more compelling than the love story and noted that the show's "putting

choreography foremost, may prove a milestone in musical-drama history".[70] One writer noted: "The story appealed to

society's undercurrent of rebellion from authority that surfaced in 1950s films like Rebel Without a Cause. ... Robbins'

energetic choreography and Bernstein's grand score accentuated the satiric, hard-edged lyrics of Sondheim, and Laurents'

capture of the angry voice of urban youth. The play was criticized for glamorizing gangs, and its portrayal of Puerto Ricans

and lack of authentic Latin casting were weaknesses.[71] Yet, the same writer commented, the song "America" shows the

triumph of the spirit over the obstacles often faced by immigrants. The musical also made points in its description of

troubled youth and the devastating effects of poverty and racism. Juvenile delinquency is seen as an ailment of society:

"No one wants a fella with a social disease!" The writer concluded: "On the cusp of the 1960s, American society, still

recovering from the enormous upheaval of World War II, was seeking stability and control."[71]

The score for West Side Story was orchestrated by Sid Ramin and Irwin Kostal following detailed instructions from

Bernstein, who then wrote revisions on their manuscript (the original, heavily annotated by Ramin, Kostal and Bernstein

himself is in the Rare Books and Manuscripts Library at Columbia University).[72] Ramin, Kostal, and Bernstein are billed

as orchestrators for the show. The orchestra consisted of 31 players: a large Broadway pit orchestra enhanced to include 5

percussionists, a guitarist and a piano/celesta player.[73]

In 1961, Bernstein prepared a suite of orchestral music from the show, titled Symphonic Dances from West Side Story:

Prologue (Allegro Moderato)"Somewhere" (Adagio)Scherzo (Vivace e Leggiero)

Score

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Mambo (Meno Presto)Cha-Cha (Andantino Con Grazia)Meeting Scene (Meno Mosso)"Cool", Fugue (Allegretto)Rumble (Molto Allegro)Finale (Adagio)

Recordings of West Side Story include the following:

The 1957 original Broadway cast album, with Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita.A 1959 recording by the pianist André Previn comprised jazz versions of eight songs from the musical.The movie soundtrack, with Marni Nixon singing Maria's role (played in the film by Natalie Wood) and Tony (played inthe film by Richard Beymer) sung by Jimmy Bryant. It won the Grammy Award for Best Sound Track Album orRecording of Original Cast from Motion Picture or Television. The 1992 remastered re-release of this album includedthe "Overture", the "End Credits" music, the complete "Dance at the Gym" and dialogue from the film. The 2004 re-release added the "Intermission" music.In 1961, Cal Tjader released a jazz version, arranged by Clare Fischer, on Fantasy Records. The album was re-released in 2002 as Cal Tjader Plays Harold Arlen & West Side Story (double CD).In 1961, Stan Kenton recorded Kenton's West Side Story (a jazz version) that received a 1962 Grammy Award forBest Jazz Performance – Large Group (Instrumental).In 1962, Oscar Peterson and his trio recorded a jazz version, West Side Story.In 1962, Dave Brubeck recorded jazz versions of selections from the film score on Music From West Side Story.In 1963, Bill Barron recorded West Side Story Bossa Nova (Dauntless, 1963)In 1984, Bernstein re-recorded the musical, conducting his own music for the first time. Generally known as the"operatic version" of West Side Story, it stars Kiri Te Kanawa as Maria, José Carreras as Tony, Tatiana Troyanos asAnita, Kurt Ollmann as Riff, Louise Edeiken as Rosalia, and Marilyn Horne as the offstage voice who sings"Somewhere". It won a Grammy Award for Best Musical Show Album in 1985. The recording process was filmed as adocumentary The Making of West Side Story, which was made by the BBC for Unitel, Produced by Humphrey Burtonand Directed by Christopher Swann. The documentary won the Flaherty BAFTA for documentary direction, a PrixItalia and was nominated for a Prime Time Emmy.A 1993 recording on the TER label, the first recording to document the full score including the overture performed byBritain's National Symphony Orchestra using cast members of the 1992 Leicester Haymarket Theatre production,conducted by John Owen Edwards.In 1996, RCA Victor released the tribute album The Songs of West Side Story featuring new versions of the songsfrom the musical sung by popular music stars, including: "The Jet Song" sung by Brian Setzer, "A Boy Like That"sung by Selena, "I feel Pretty" sung by Little Richard, two versions of "Somewhere" performed by Aretha Franklin andPhil Collins, "Tonight" sung by Wynonna Judd and Kenny Loggins, "America" sung by Patti LaBelle, Natalie Cole andSheila E., "I Have a Love" sung by Trisha Yearwood and "Rumble" performed by Chick Corea Elektric Band andSteve Vai's Monsters. Proceeds from the sale of this album go to benefit the Leonard Bernstein Education ThroughThe Arts Fund, the NARAS Foundation and The Leonard Bernstein Center at Nashville, Tennessee.In 2002, Naxos Records released a CD with the Nashville Symphony Orchestra playing the music with soloists MikeEldred (Tony), Betsi Morrison (Maria), Marianne Cook (Anita), Robert Dean (Riff), Michael San Giovanni, JoannaChozen, and Michelle Prentice.[74][75][76]

A 2007 tribute album entitled A Place for Us marking the 50th anniversary of the show. The album features coverversions previously recorded and a new recording of "Tonight" by Kristin Chenoweth and Hugh Panaro.A 2007 recording was released by Decca Broadway in honor of West Side Story's 50th anniversary. This album starsHayley Westenra as Maria and Vittorio Grigolo as Tony. The Bernstein Foundation in New York has authorized therecording.[77] It was nominated for the Grammy Award for Best Show Album.Bernstein recorded the Symphonic Dances suite with the New York Philharmonic in 1961, and with the Los AngelesPhilharmonic in 1983. The Symphonic Dances have entered the repertoire of many major world orchestras, mostrecently by the Simon Bolivar Youth Orchestra under Gustavo Dudamel. It has been recorded by many orchestras,including the San Francisco Symphony under the direction of Seiji Ozawa.The 2009 new Broadway cast album, with Josefina Scaglione as Maria, Matt Cavenaugh as Tony and Karen Olivo asAnita won the 2010 Grammy Award for Best Musical Theater Album.[48]

Recordings

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A live, semi-staged 2013 recording by the San Francisco Symphony under Music Director Michael Tilson Thomas,featuring Cheyenne Jackson, Alexandra Silber and others, debuted at No.1 on the Billboard Classical Albums chart inMay 2014. It was released in 2014 as a hybrid SACD on the SFS Media label, and was nominated for a GrammyAward for Best Musical Theater Album.

The 1961 film adaptation of the musical received praise from critics and the public, and became the second highest-

grossing film of the year in the United States. The film won ten Academy Awards in its eleven nominated categories,

including Best Picture. It received the most Academy Awards (10 wins) of any musical film, including Best Picture. Rita

Moreno (Anita) was the first Latina actress ever to win an Oscar.[78] The soundtrack album won a Grammy Award and was

ranked No. 1 on the Billboard chart for a record 54 weeks.[79] Differences in the film from the stage version include that

"Tonight" is moved to follow "America", and Bernardo sings a line in "America" instead of Rosalia, with changes in the

lyrics. Diesel is renamed Ice. "Gee, Officer Krupke" is moved before "Cool" and is sung by Riff instead of Action, and

"Cool" is sung by Ice instead of Riff. After Riff is killed, Ice takes control of the Jets, rather than Action.[80]

An upcoming film adaptation, written by Tony Kushner, is set to be directed by Steven Spielberg, with filming to

commence in 2019.[81] Kushner plans to keep the story closer to the original Broadway musical than the 1961 film, stating

that "[T]here are aspects of urban life in ‘57, ‘58, ‘59 that weren’t touched on in the 1961 movie that we are focusing

on."[82] Ansel Elgort has been cast as Tony, and 17-year-old Rachel Zegler has been cast as Maria.[83] David Alvarez and

Ariana DeBose have been cast as Bernardo and Anita.[84][85][86]

The television show Curb Your Enthusiasm extensively referenced West Side Story in the season seven episode "Officer

Krupke".[87] In the third season of the series Glee, three episodes feature characters auditioning, rehearsing and

performing a school production of West Side Story.[88][89]

In film, Pixar animator Aaron Hartline used the first meeting between Tony and Maria as inspiration for the moment

when Ken meets Barbie in Toy Story 3.[90] The 2005 short musical comedy film West Bank Story, which won the

Academy Award for Best Live Action Short Film, concerns a love story between a Jew and a Palestinian and parodies

several aspects of West Side Story.[91]

In 1963, the magazine Mad published "East Side Story" which was set at the United Nations building on the East Side of

Manhattan, a parody of the Cold War, with the two rival gangs led by John F. Kennedy and Nikita Khrushchev, by writer

Frank Jacobs and illustrator Mort Drucker.[92] From 1973 to 2004, Wild Side Story, a camp parody musical, based loosely

on West Side Story and adapting parts of the musical's music and lyrics, was performed a total of more than 500 times in

Miami Beach, Florida, Stockholm, Gran Canaria and Los Angeles. The show lampoons the musical's tragic love story, and

also lip-synching and drag shows.[93]

Films

References in popular culture

Awards and nominations

Original Broadway production

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Year Award ceremony Category Nominee Result

1958

Theatre World Award Carol Lawrence Won

Tony Award

Best Musical Nominated

Best Performance by an Actress in a FeaturedRole in a Musical Carol Lawrence Nominated

Best Choreography Jerome Robbins Won

Best Scenic Design Oliver Smith Won

Best Costume Design Irene Sharaff Nominated

Best Conductor and Musical Director Max Goberman Nominated

Year Award ceremony Category Nominee Result

1964 Tony AwardBest Producer of a Musical City Center Light

Opera Company Nominated

Best Conductor and Musical Director Charles Jaffe Nominated

Year Award ceremony Category Nominee Result

1980

Drama DeskAward Outstanding Featured Actress in a Musical Debbie Allen Won

Tony Award

Best Revival Nominated

Best Performance by an Actress in a FeaturedRole in a Musical

Josie de Guzman Nominated

Debbie Allen Nominated

Year Award ceremony Category Nominee Result

2009 Laurence OlivierAward

Best Musical Revival Nominated

Best Actress in a Musical Sofia Escobar Nominated

1964 Broadway revival

1980 Broadway revival

2008 West End revival

2009 Broadway revival

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Year Award ceremony Category Nominee Result

2009

Tony Award

Best Revival of a Musical Nominated

Best Performance by an Actress in a LeadRole in a Musical Josefina Scaglione Nominated

Best Performance by an Actress in a FeaturedRole in a Musical Karen Olivo Won

Best Lighting Design Howell Binkley Nominated

Drama DeskAward

Outstanding Revival of a Musical Nominated

Outstanding Featured Actress in a Musical Karen Olivo Nominated

Theatre World Award Josefina Scaglione Won

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Sources

Further reading

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Acevedo-Munoz, Ernesto R. (2013) "West Side Story" as Cinema: The Making and Impact of an AmericanMasterpiece, University Press of KansasBauch, Marc A. (2013) Europäische Einflüsse im amerikanischen Musical (http://www.tectum-verlag.de/europaische-einflusse-im-amerikanischen-musical.html), Marburg, Germany: Tectum Verlag, ISBN 978-3-8288-3209-1Laurents, Arthur (2009). Mainly on directing: Gypsy, West Side Story, and other musicals. New York: Alfred A. Knopf.ISBN 978-0-307-27088-7.Simeone, Nigel (2009) Leonard Bernstein: West Side Story, Ashgate, Farnham, ISBN 0-7546-6484-8Vaill, A. (2006) Somewhere: The Life of Jerome Robbins, Broadway Books, New York, ISBN 0-7679-0420-6Wells, Elizabeth A. (2010) West Side Story: Cultural Perspectives on an American Musical, Scarecrow Press,Lanham, Maryland, ISBN 978-0-8108-7666-8Williams, Mary E. (editor) (2001) Readings on West Side Story, Greenhaven Press, San Diego, California, ISBN 0-7377-0694-5

The Official West Side Story website (http://www.westsidestory.com/)West Side Story (https://www.ibdb.com/broadway-show/9232) at the Internet Broadway DatabaseWest Side Story (http://www.mtishows.com/show_detail.asp?showid=000077) at the Music Theatre InternationalwebsiteWest Side Story (http://www.sondheimguide.com/wss.html) at The Stephen Sondheim Reference GuideMoving Pictures: West Side Story (https://www.nypl.org/blog/beta/2017/02/22/moving-pictures-west-side-story) byDoug Reside, curator at the New York Public LibraryWest Side Story (http://stageagent.com/shows/musical/993/west-side-story), extensive material at stageagent.comTwelve Jazz Versions of West Side Story at Jazz.com (https://web.archive.org/web/20090228212837/http://www.jazz.com/dozens/the-dozens-west-side-story)NYC Youth Gangs – 1950s (http://newyorkcitygangs.com/)

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