West Side Story

West Side Story is an American musical with a book

by Arthur Laurents, music by Leonard Bernstein,
libretto/lyrics by Stephen Sondheim, and conception and
choreography by Jerome Robbins.[1] It was inspired by
William Shakespeare's play Romeo and Juliet.

rary musical adaptation of Romeo and Juliet. He proposed that the plot focus on the conict between an Irish
Catholic family and a Jewish family living on the Lower
East Side of Manhattan,[6] during the EasterPassover
season. The girl has survived the Holocaust and emigrated from Israel; the conict 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 rst 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 rst 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 Abies Irish Rose. When
he opted to drop out, the three men went their separate
ways, and the piece was shelved for almost ve years.[8][9]

The story is set in the Upper West Side neighborhood

in New York City in the mid-1950s, an ethnic, bluecollar neighborhood. (In the early 1960s much of the
neighborhood would be cleared in an urban renewal
project for the Lincoln Center, changing the neighborhoods character.)[2][3] The musical explores the rivalry
between the Jets and the Sharks, two teenage street gangs
of dierent 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 leader,
Ri, 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 theater.
Bernsteins score for the musical includes Somethings
Coming, "Maria", "America", "Somewhere", "Tonight",
Jet Song, I Feel Pretty, "A Boy Like That", One
Hand, One Heart, Gee, Ocer Krupke, and "Cool".

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 Saturday Night, 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]

The original 1957 Broadway production, directed and

choreographed by Jerome Robbins and produced by
Robert E. Grith and Harold Prince, marked Sondheims
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 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 lm
of the same name, directed by Robert Wise and Robbins,
starred Natalie Wood, Richard Beymer, Rita Moreno,
George Chakiris and Russ Tamblyn. The lm was nominated for eleven Academy Awards and won ten, including
George Chakiris for Supporting Actor, Rita Moreno for
Supporting Actress, and the Best Picture.

Laurents was soon hired to write the screenplay for a

remake of the 1934 Greta Garbo lm 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 and Harlem than he
1 Background
was with Mexican Americans and Olvera Street. The two
contacted Robbins, who was enthusiastic about a musical
1.1 Genesis
with a Latin beat. He arrived in Hollywood to choreograph the dance sequences for The King and I, and he and
In 1947, Jerome Robbins approached Leonard Bernstein Laurents began developing the musical while working on
and Arthur Laurents about collaborating on a contempo1

their respective projects, keeping in touch with Bernstein,

who had returned to New York. When the producer of
The Painted Veil replaced Gardner with Eleanor Parker
and asked Laurents to revise his script with her in mind,
he backed out of the lm, freeing him to devote all his
time to the stage musical.[11]

1.2

Collaboration and development

In New York, Laurents went to the opening night party

for a new play by Ugo Betti, and 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 benet 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 Juliets 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 plays tragic outcome, so comic
relief in the form of Ocer Krupke was added to the
second act. 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
Stu, 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

BACKGROUND

the two works.[16] Tony and Marias duet, One Hand,

One Heart, was originally intended for Cunegonde in
Candide. The music of Gee, Ocer Krupke was pulled
from the Venice scene in Candide.[17] Laurents explained
the style that the creative team nally decided on:[18]
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.
The show was nearly complete in the fall of 1956, but
almost everyone on the creative team needed to fulll
other commitments rst. Robbins was involved with Bells
Are Ringing, then Bernstein with Candide, and in January 1957 A Clearing 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 Grith ew 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]

1.3 Production period

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 had
recently 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:[23]
Everyone told us that [West Side Story] was
an impossible project ... And we were told no

3
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
rst-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, 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.

However, Suskin states in Show Tunes that As the writing progressed and the extent of Bernsteins 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 Somethings
Coming, where he developed the main strain of the chorus from music Bernstein wrote for the verse.[29] )

2 Synopsis
2.1 Act 1
Two rival teenage gangs, the Jets (White) and the Sharks
(Puerto Rican), struggle for control of the neighborhood
somewhere in the Upper West Side of New York City
amidst the police (Prologue). They are warned by Lt.
Schrank and Ocer Krupke to stop ghting on their beat.
The police chase the Sharks o, and then the Jets plan
how they can assure their continued dominance of the
street. The Jets leader, Ri, 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. Ri 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 Ri is
adamant that Tony is still one of them (Jet Song). Ri
meets Tony while hes working at Docs Drugstore to persuade him to come. Tony initially refuses, but Ri wins
him over. Tony is convinced that something important is
round the corner (Somethings Coming).

Throughout the rehearsal period, the New York newspapers were lled with articles about gang warfare, keeping
the shows 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 jeansclad 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 deMaria works in a bridal shop with Anita, the girlfriend
pressing and too dicult.[7]
of her brother, Bernardo. Maria has just arrived from
There were problems with Oliver Smith's designs. His
Puerto Rico for her arranged marriage to Chino, a friend
painted backdrops were stunning, but the sets were, for
of Bernardos. Maria confesses to Anita that she is not in
the most part, either shabby looking or too stylized.
love with Chino. Anita makes Maria a dress to wear to
Prince refused to spend money on new construction, and
the neighborhood dance.
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 orid 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
The Shark girls extol the virtues of America in Portland Center
on Broadway, none of his collaborators were talking to Stage's production of West Side Story in 2007.
him.[27]
It has been rumored that while Bernstein was o trying
to x the musical Candide, Sondheim wrote some of the
music for West Side Story, and that Bernsteins co-lyricist
billing mysteriously disappeared from the credits of West
Side Story during the tryout, presumably as a trade-o.[28]

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 to-

4
gether, forgetting the tension in the room, fall in love, and
kiss, but Bernardo pulls his sister from Tony and sends
her home. Ri and Bernardo agree to meet for a War
Council at Docs, a drug store which is considered neutral ground, but meanwhile, an infatuated and happy Tony
nds Marias building and serenades her outside her bedroom (Maria). She appears on her re escape, and the
two profess their love for one another ("Tonight"). Meanwhile, Anita, Rosalia, and the other Shark girls discuss
the dierences between the territory of Puerto Rico and
the mainland United States of America, with Anita defending America, and Rosalia yearning for Puerto Rico
("America").

2 SYNOPSIS
Tony kills Bernardo in a t of rage, which in turn provokes an all-out ght like the ght 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 ee from the
scene at the last moment. Only the bodies of Ri and
Bernardo remain.

2.2 Act 2

The Jets get antsy while waiting for the Sharks inside
Docs Drug Store. Ri helps them let out their aggression
(Cool). The Sharks arrive to discuss weapons to use in
the rumble. Tony suggests a fair ght (sts only), which
the leaders agree to, despite the other members protests.
Bernardo believes that he will ght Tony, but must settle
for ghting Diesel, Ris second-in-command, instead.
This is followed by a monologue by the ineective Lt.
Schrank trying to nd 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.

Tony stabs Bernardo in the 1957 Broadway production.

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
ght 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 Ri
and the Jets all anticipate the events to come that night
("Tonight Quintet"). The gangs meet under the highway
and, as the ght between Bernardo and Diesel begins,
Tony arrives and tries to stop it. Though Bernardo taunts
Tony, ridiculing his attempt to make peace and provoking him in every way, Tony keeps his composure. When
Bernardo pushes Tony, Ri punches him in Tonys defense. The two draw their switchblades and get in a ght
(The Rumble). Tony attempts to intervene, inadvertently leading to Ri being fatally stabbed by Bernardo.

Tony (Justin Gordon) and Maria (Erica Racz) in a Pacic Repertory Theatre production in 2001.

Blissfully unaware of the gangs plans for that night, Maria

daydreams about seeing Tony with her friendsRosalia,
Consuelo, Teresita and Francisca (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
ees 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 Marias bedroom disappear, they nd themselves in a dreamlike world of peace
("Somewhere").
Two of the Jets, A-Rab and Baby John, are set on by
Ocer Krupke, but they manage to escape him. They
meet the rest of the gang, now led by Action. To cheer
themselves up, they lampoon Ocer Krupke, and the
other adults who don't understand them, (Gee Ocer

5
Krupke). Anybodys arrives and tells the Jets she has 5 Productions
been spying on the Puerto Ricans- she has discovered that
Chino is looking for Tony with a gun. The gang separates
5.1 Original Broadway production
to nd Tony. Action accepts Anybodys into the Jets, and
includes her in the search.
After tryouts in Washington, D.C. and Philadelphia beA grieving Anita arrives at Marias apartment. As Tony ginning in August 1957, the original Broadway producleaves, he tells Maria to meet him at Docs so they can run tion opened at the Winter Garden Theatre on Septemaway to the country. In spite of her attempts to conceal it, ber 26, 1957 to positive reviews. The production was diAnita sees that Tony has been with Maria, and launches rected and choreographed by Jerome Robbins, produced
an angry tirade against him, ("A Boy Like That"). Maria by Robert E. Grith and Harold Prince and starred Larry
counters by telling Anita how powerful love is, (I Have a Kert as Tony, Carol Lawrence as Maria, Chita Rivera as
Love), though, and Anita realizes that Maria loves Tony Anita and David Winters as Baby John, the youngest of
as much as she had loved Bernardo. She admits that the gang members. Robbins won the Tony Award for Best
Chino has a gun and is looking for Tony.
Choreographer, and Oliver Smith won the Tony for Best
Lt. Schrank arrives to question Maria about her brothers Scenic Designer. Also nominated were Carol Lawrence,
death, and Anita agrees to go to Docs to tell Tony to wait. as Best Actress in a Supporting Role in a Musical, Max
Unfortunately, the Jets, including Anybodys, who have Goberman as Best Musical Director and Conductor, and
found Tony, have congregated at Docs, and they taunt Irene Shara for Best Costume Design. Carol Lawrence
Anita with racist slurs and eventually simulate rape. Doc received the 1958 Theatre World Award. Lighting was
arrives and stops them. Anita is furious, and in anger designed by Jean Rosenthal. The production ran for 732
spitefully delivers the wrong message, telling the Jets that performances at the Winter Garden Theatre before touring and then returning to the Winter Garden Theatre in
Chino has shot Maria dead.
1960 for another 253 performance engagement.
Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with The other principal or notable cast members in the origMaria. Feeling there is no longer anything to live for, inal production were: Anybodys: Lee Becker, Ri:
Tony leaves to nd Chino, begging for him to shoot him Michael Callan, A-Rab: Tony Mordente, Action: Eddie
as well. Just as Tony sees Maria alive, Chino arrives and Roll, Big Deal: Martin Charnin, Gee-Tar: Tommy Abshoots Tony. The Jets, Sharks, and adults ock around the bott; Velma: Carole D'Andrea, Bernardo: Ken Le Roy,
lovers. Maria holds Tony in her arms (and sings a quiet, Chino: Jamie Sanchez, Nibbles: Ronnie Lee; Rosalia:
brief reprise of Somewhere) as he dies. Angry at the Marilyn Cooper, Consuelo: Reri Grist, Teresita: Cardeath of another friend, the Jets move towards the Sharks men Gutierrez, Francisca: Elizabeth Taylor; Lt. Schrank:
but Maria takes Chinos gun and tells everyone that all of Arch Johnson, Doc: Art Smith, and Krupke: William
[them]" killed Tony and the others because of their hate Bramley.
for each other, and, Now I can kill too, because now I Several dances from West Side Story were included in the
have hate!" she yells. However, she is unable to bring her- Tony Award-winning 1989 Broadway production, Jerome
self to re the gun and drops it, crying in grief. Gradually, Robbins Broadway.
all the members of both gangs assemble on either side of
Tonys body, showing that the feud is over. The Jets and
Sharks form a procession, and together carry Tony away, 5.2 Original London production
with Maria the last one in the procession.
The 1958 European premiere at the Manchester Opera
House transferred to London, where it opened at Her
Majestys Theatre in the West End on December 12, 1958
3 Characters
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
4 Musical numbers
by Oliver Smith. Featured performers were George
Chakiris, who won an Academy Award as Bernardo in the
Notes
1961 lm version, as Ri, Marlys Watters as Maria, Don
McKay as Tony, and Chita Rivera reprising her Broadway
I Feel Pretty was retitled "Me Siento Hermosa" in role as Anita.[30] David Holliday, who had been playing
the 2009 revival
Gladhand since the London opening, took over as Tony,
playing opposite Roberta D'Esti's Maria, and Mary Pre Dream Consuelo was retitled Kiddo in the 2009 ston as Anita.
revival.
In February 1962, the West End (H. M. Tennent) produc A Boy Like That was retitled "Un Hombre As" in tion launched a ve-month Scandinavian tour opening in
the 2009 revival
Copenhagen, continuing to Oslo, Goteborg, Stockholm

5 PRODUCTIONS

and Helsinki. Robert Jerey took over from David Holl- tress.[41][42] The cast recording won the Grammy Award
iday as Tony and Jill Martin played Maria.
for Best Musical Show Album.[43] In July 2010, the producers reduced the size of the orchestra, replacing ve
musicians with an o-stage synthesizer.[44] The produc5.3 1980 Broadway revival
tion closed on January 2, 2011 after 748 performances
and 27 previews.[45] The revival sold 1,074,462 tickets
A Broadway revival opened at the Minsko Theatre on on Broadway over the course of nearly two years.[46]
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 choreog- 5.5 Other productions
raphy reproduction.[31] The original scenic, lighting, and
costume designs were used. It starred Ken Marshall as
Tony, Hector Jamie Mercado as Bernardo, Josie de Guz- The New York City Center Light Opera Company proman as Maria, and Debbie Allen as Anita. Both de Guz- duction opened on April 8, 1964 at the New York City
Center and closed May 3, 1964 after a limited engageman and Allen received Tony Award nominations as Best
Featured Actress in a Musical, and the musical was nomi- ment of 31 performances. Tony was Don McKay, Maria
was Julia Migenes and Anita was played by Luba Lisa. It
nated as Best Reproduction (Play or Musical). Allen won
was
staged by Gerald Freedman based on Robbins origthe Drama Desk Award as Outstanding Featured Actress
inal concept, and the choreography was re-mounted by
in a Musical. Other notable cast members in the revival
included Brent Barrett as Diesel, Harolyn Blackwell as Tom Abbott.
Francisca, Stephen Bogardus as Mouth Piece, Reed Jones The Musical Theater of Lincoln Center and Richard
as Big Deal, Mark Morales as Chino, and Sammy Smith Rodgers production opened at the New York State Theater, Lincoln Center, on June 24, 1968 and closed on
as Doc.
The Minsko production subsequently opened the Nervi September 7, 1968 after 89 performances. Direction
Festival in Genoa, Italy in July 1981 with Josie de Guz- and choreography were reproduced by Lee Theodore, and
scenery was by Oliver Smith. Tony was Kurt Peterson and
man as Maria and Brent Barrett as Tony.[32]
Maria was Victoria Mallory.

5.4

2009 Broadway revival

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.[33] 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.[34][35]
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 dierent world.[36][37][38] 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.[39] However, the
Spanish lyrics sung by the Sharks in the Tonight (Quintet) remained in Spanish.
The cast featured Matt Cavenaugh as Tony, Josena
Scaglione as Maria and Karen Olivo as Anita.[40] Olivo
won the Tony Award for Best Featured Actress, while
Scaglione was nominated for the award for Leading Ac-

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.[47]

5.6 National tours

A 1959 national tour launched on July 1, 1959. The show
hit Denver, Los Angeles, San Francisco, Chicago, Detroit, Cincinnati, Cleveland, Baltimore, Philadelphia, and
Boston. This tour transferred back on Broadway Apr 27,
1960 Dec 10, 1960 at the Winter Garden Theater in
New York City.
A 1987 U.S. tour starred Jack Wagner as Tony, with
Valarie Pettiford as Anita and was directed by Alan Johnson.[48] A bus and truck (non-Equity) tour was produced
in 1998 by City Vision Theatricals. A national tour, directed by Alan Johnson, was produced in 2002.[49]
A national tour of the 2009 Broadway revival began in October 2010 at the Fisher Theatre in Detroit,
Michigan.[50] The cast features Kyle Harris as Tony,
Ali Ewoldt as Maria and Eric Homann as Ocer
Krupke.[51] After a very successful year, the tour was sent
out for another year.[52][53] A Non-equity tour version of
the 2009 Revival, presented by Troika Entertainment, began in fall 2012.[54]

5.7

Regional productions

Christian Bautista as Tony, Karylle and Joanna Ampil as

Maria.[59] In 2008, an adaptation played in Portugal, directed by Filipe La Fria, with the name West Side Story
Amor Sem Barreiras, in the Politeama Theater, in Lisbon,
with Ricardo Soler and Rui Andrade playing the character Tony and Brbara Barradas and Ctia Tavares playing
Maria. Anita is portrayed by Lcia Moniz and Anabela.

Several regional opera companies have produced West

Side Story. San Diego Civic Light Opera (1983),
Pittsburgh Civic Light Opera (1965, 1967, 1974, 1984,
1990, 1999, 2008),[55] and Ban Musical Theatre (1984)
were among the rst smaller regional companies to produce it. Michigan Opera Theatre was the rst major In 2007, the Fulton Opera House in Lancaster, PennAmerican Opera Company to produce West Side Story sylvania and 5th Avenue Theatre in Seattle, Washington
in late 1985.
were the only professional theaters in the United States to
In 1986 Starlight Theatre of Kansas City in Kansas City, be granted the production rights to West Side Story on the
MO presented a production and in 1989 North Shore Mu- 50th anniversary of its Broadway opening. To mark the
sic Theatre in Beverly, MA had a very successful produc- occasion, the Fulton joined with the Lancaster Symphony
tion. Both of these productions were directed by Jack Orchestra for the rst time to supply the musical score under the direction of Maestro Stephen Gunzenhauser. The
Allison and choreographed by Thom Warren
production, during the Fultons 155th season, ran from
September 6, 2007 to September 30, 2007.[60]

5.8

International productions

An international tour (20052010), directed and choreographed by Joey McKneely and produced by BB PromoIn 1961, a tour of Israel, Africa and the Near East was tion played in Tokyo, Paris, Austria, Switzerland, Germounted. The Japanese Takarazuka Revue has also per- many, Singapore, So Paulo, France, Taiwan, China,
formed the show twice. It was produced by the Moon Italy, Rotterdam and Madrid.[61][62]
Troupe in 1998 and again in 1999 by the Star Troupe. A Canadas Stratford Shakespeare Festival performed West
Hong Kong production was produced in 2000 with Can- Side Story in 1999, starring Tyley Ross as Tony and
tonese lyrics, featuring Hong Kong rock star Paul Wong Ma-Anne Dionisio as Maria, and again in 2009,[63] with
as Tony. It was staged at the outdoor plaza of Hong Kong Chilina Kennedy as Maria and Paul Nolan as Tony. Gary
Cultural Center.
Grin directed.
In 1977, Amor Sin Barreras 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, other cast members were Luis Torner, Lupita
Sandoval, Edgar Flores, Macaria, Ema Pulido, and Julieta
Bracho.

In June 2011, a Lima production was produced by Preludio Asociacin Cultural with Marco Zunino as Tony,
Rossana Fernndez-Maldonado as Maria, Jess Neyra as
Bernardo, Tati Alcntara as Anita and Joaqun de Orbegoso as Ri.[64]

In December 2011, an Indonesia production was produced by Nino Theatre with Manda Alaysia as Maria,
From 19821984 a tour of South America, Israel and Eu- Bimo Reisnanda as Bernardo, Zara Fathy as Anita, Ton
rope was mounted with talent from New York. Included Dorino as Ri.
in the cast were Thom Warren, Richard Renzaneth, John
Charles Kelly, Pamela Khoury, Michael McCord,and RJ In May 2012, a Belarusian production directed by
Peters. The Director/Choreographers for that produc- Anastasia Grinenko (Belarus), with choreography by
tion were Jay Norman and Lee Theodore, veterans of the Paul Emerson (USA) and Dmitry Yakubovich (Belarus)
opened at the Belarus State Musical Theatre.
Original Broadway Cast.
A UK national tour started in 1997 and starred David
Habbin as Tony, Katie Knight Adams as Maria and AnnaJane Casey as Anita. The production was very well received and transferred to Londons 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.[56]
The Austrian Bregenz Festival presented West Side Story
in a German translation by Marcel Prawy in 2003 and
2004, directed by the Francesca Zambello, followed by
a German tour.[57] A French language adaptation, translated by Philippe Gobeille, opened in Montreal, Quebec
in March 2008.[58] A Philippine version premiered on
September 5, 2008 at the Meralco Theatre. It featured

6 Critical reaction
The creators innovations in dance, music and theatrical
style resulted in strong reactions from the critics. Walter
Kerr wrote in the New York Herald Tribune on September
27, 1957:[65]
The radioactive fallout from West Side
Story must still be descending on Broadway this
morning. Director, choreographer, and ideaman Jerome Robbins has put together, and then
blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to

7 SCORE
in a dozen seasons .... the show rides with
a catastrophic roar over the spider-web reescapes, 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 eort at control and the instinctive drives
of these potential killers is stingingly graphic.
When the knives come out, and bodies begin
to y 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 Somethings Coming both music and tumultuous story are given
their due. Otherwise its the danced narrative
that takes urgent precedence ...

West Side Story took this one step further by

combining the classic and the hip. Robbins
energetic choreography and Bernsteins 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. Yet, 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 eects of poverty
and racism. Juvenile delinquency is seen as an
ailment of society: No one wants a fella with a
social disease!" One writer summed up the reasons for the shows popularity in these terms:
On the cusp of the 1960s, American society,
still recovering from the enormous upheaval of
World War II, was seeking stability and control.

7 Score

The other reviews generally joined in speculation about

how the new work would inuence the course of musical theater. Typical was John Chapman's review in the 7.1 Orchestration
New York Daily News on September 27, 1957, headed:
The score for West Side Story was orchestrated by
West Side Story a Splendid and Super-Modern Musical
Sid Ramin and Irwin Kostal following detailed instrucDrama.
tions from Bernstein, who then wrote revisions on their
manuscript (the original, heavily annotated by Ramin,
The American theatre took a venturesome
Kostal and Bernstein himself is in the Rare Books and
forward step when the rm of Grith & Prince
Manuscripts Library at Columbia University).[68] Ramin,
presented West Side Story at the Winter GarKostal, and Bernstein are billed as orchestrators for the
den last evening. This is a bold new kind of
show.
musical theatre a juke-box Manhattan opera.
The orchestra consisted of 31 players:[69]
It is, to me, extraordinarily exciting .... the
manner of telling the story is a provocative and
artful blend of music, dance and plot and
5 woodwinds
the music and the dancing are superb. In [the
Reed I (piccolo, ute, alto saxophone,
score], there is the drive, the bounce, the restclarinet, bass clarinet)
lessness and the sweetness of our town. It takes
Reed II (E-at clarinet, clarinet, bass
up the American musical idiom where it was
clarinet)
left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and
Reed III (piccolo, ute, oboe, English
it marks the progression of an admirable comhorn, tenor saxophone, baritone saxoposer ...
phone, clarinet, bass clarinet)
Reed IV (piccolo, ute, soprano saxTime magazine found the dance and gang warfare more
ophone, bass saxophone, clarinet, bass
compelling than the love story and noted that the shows
clarinet)
putting choreography foremost, may prove a milestone
Reed V (bassoon)
in musical-drama history ...[66][67]
7 brass
While critics speculated about the comic2 horns in F
tragic darkness of the musical, audiences were
3 trumpets in B (2nd doubling trumpet
captivated. The story appealed to societys unin D)
dercurrent of rebellion from authority that sur2 trombones
faced in 1950s lms like Rebel without a Cause.

7.2

Symphonic Dances from West Side Story orchestral music suite

5 percussion
Timpani (1 player)
Percussion (4 players traps,
vibraphone, 4 pitched drums, guiro,
xylophone, 3 bongos, 3 cowbells, conga,
timbales, snare drum, police whistle,
gourd, 2 suspended cymbals, castanets,
maracas, nger cymbals, tambourines,
small maracas, glockenspiel, woodblock,
claves, triangle, temple blocks, chimes,
tam-tam, ratchet, slide whistle)
Piano/celesta
Electric guitar/Spanish guitar/mandolin
12 strings
Violin I-VII
Cello I-IV
Contrabass
Music Theatre International, who handles licensing for
amateur productions, oers two orchestrations, the original and a smaller alternate:

Auxiliary Percussion - Bongo, Castanets, Chimes,

Clave, Conga, Cowbell, Cymbal, Finger Cymbal, Glockenspiel, Gourd, Guiro, Maracas, Rachet,
Slide Whistle, Suspended Cymbal, Tam-Tam, Tambourine, Timbales, Tympani, Vibraphone, Whistle,
Wood Block, Xylophone

7.2

Symphonic Dances from West Side Story

orchestral music suite

In 1961, Bernstein prepared a suite of orchestral music

from the show, titled Symphonic Dances from West Side
Story:
1. Prologue (Allegro Moderato)
2. Somewhere (Adagio)
3. Scherzo (Vivace e Leggiero)
4. Mambo (Meno Presto)
5. Cha-Cha (Andantino Con Grazia)
6. Meeting Scene (Meno Mosso)
7. Cool, Fugue (Allegretto)

Violins 1, 2 & 3

8. Rumble (Molto Allegro)

Bass

9. Finale (Adagio)

Cello
Guitar - Classical Guitar, Electrical Guitar

8 Recordings

Piano - Celeste, Piano

Recordings of West Side Story include:

Synthesizer
Reed 1 - Alto saxophone, Bb Clarinet, Flute, Piccolo
Reed 2 - Alto Saxophone, Bb Clarinet, Eb Clarinet,
Flute, Piccolo
Reed 3 - Bb Clarinet, Eb Clarinet, Flute, Piccolo,
Tenor Saxophone

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 Andr Previn comprised jazz versions of eight songs from the musical.

Horn

The movie soundtrack, with Marni Nixon singing

Marias role (played in the lm by Natalie Wood)
and Tony (played in the lm by Richard Beymer)
sung by Jimmy Bryant. It won the Grammy Award
for Best Sound Track Album or Recording of Original Cast from Motion Picture or Television. The
1992 remastered re-release of this album included
the Overture, the End Credits music, the complete Dance at the Gym and dialogue from the
lm. The 2004 re-release added the Intermission
music.

Drums - Bongo, Castanets, Cowbell, Finger Cymbal, Glockenspiel, Guiro, Kit, Suspended Cymbal,
Tam-Tam, Tambourine, Temple Blocks, Traps, Triangle, Wood Block

In 1961, Cal Tjader released a jazz version, arranged by Clare Fischer, on Fantasy Records. The
album was released again in 2002 as Cal Tjader
Plays Harold Arlen & West Side Story (double CD).

Reed 4 - Bb Clarinet, Baritone Saxophone, Bass

Clarinet
Reed 5 - Bassoon
Trumpets 1 & 2
Trombone

10
In 1961, Stan Kenton recorded Kentons West Side
Story (a jazz version) that received a 1962 Grammy
Award for Best Jazz Performance Large Group
(Instrumental).
In 1962 Shirley Bassey released a single of
Tonight. The single reached #21/1962 in the U.K.
and is the only recording of this song to chart in the
U.K.
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 lm score on Music From West
Side Story.
In 1964 P.J. Proby released a single of Somewhere
and included it on his album, Somewhere. The
single reached #06/1964 in the U.K.
In 1965, P.J. Proby released a single of Maria and
included it on his album, P.J. Proby....In Town.
The single reached #08/1964 in the U.K.
In 1965, Shirley Bassey recorded and released the
song Somewhere on her LP titled, Shirley Stops
The Shows - UK and Shirley Belts The Best USA
In 1966, Julie Andrews recorded I Feel Pretty for
her album Broadways Fair Julie
In 1966, Buddy Rich and his big band performed an
arrangement penned by Bill Reddie called West Side
Story Medley for many years.
In 1968, Shirley Bassey recorded Somethings
Coming for her album 12 Of Those Songs
In 1969, progressive rock band Yes covered the song
Somethings Coming as the B-side to their rst single "Sweetness".
In 1984, Bernstein decided to re-record the musical, conducting his own music for the rst time.
Generally known as the operatic version of West
Side Story, it stars Kiri Te Kanawa as Maria, Jos
Carreras as Tony, Tatiana Troyanos as Anita, Kurt
Ollmann as Ri, Louise Edeiken as Rosalia, and
Marilyn Horne as the ostage voice who sings
Somewhere. It won a Grammy Award for Best
Musical Show Album in 1985. The recording process was lmed as a documentary The Making of
West Side Story, which was made by the BBC for
Unitel, Produced by Humphrey Burton and Directed
by Christopher Swann. The documentary won the
Flaherty BAFTA for documentary direction, a Prix
Italia and was nominated for a Prime Time Emmy.
It is available on YouTube.

RECORDINGS

In 1985, Barbra Streisand recorded Somethings

Coming and Somewhere for her #1 album The
Broadway Album.
In 1991, Tuck & Patti recorded One Hand, One
Heart for their album Dream
In 1993, Barbra Streisand recorded a medley of I
Have a Love and One Hand, One Heart as a
duet with Johnny Mathis for her #1 album "Back
to Broadway".
A 1993 recording, the rst recording to document
the full score including the overture performed by
Britains National Symphony Orchestra using cast
members of the 1992 Leicester Haymarket Theatre
production.
In 1994, Mandy Patinkin recorded a cover of
Somethings Coming for his album Experiment
In 1996, RCA Victor released the tribute album
The Songs of West Side Story featuring new versions of the songs from 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 and
Phil Collins, Tonight sung by Wynonna Judd and
Kenny Loggins, America sung by Patti LaBelle,
Natalie Cole and Sheila E., I Have a Love sung
by Trisha Yearwood and Rumble performed by
Chick Corea Elektric Band and Steve Vai's Monsters. Proceeds from the sale of this album go to
benet the Leonard Bernstein Education Through
The 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.
The cast included Mike Eldred (Tony), Betsi Morrison (Maria), Marianne Cook (Anita), Robert Dean
(Ri), Michael San Giovanni, Joanna Chozen, and
Michelle Prentice.[70][71][72]
A 2007 tribute album entitled A Place for Us marking the 50th anniversary of the show. The album features cover versions previously recorded as
well as a new recording of Tonight by Kristin
Chenoweth and Hugh Panaro.
A 2007 recording was released by Decca Broadway
in honor of West Side Storys 50th anniversary. This
album stars Hayley Westenra as Maria and Vittorio
Grigolo as Tony. The Bernstein Foundation in New
York has authorized the recording.[73] 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 Angeles Philharmonic in 1983. The Symphonic

11
Dances have entered the repertoire of many major
world orchestras, most recently 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 Josena
Scaglione as Maria, Matt Cavenaugh as Tony and
Karen Olivo as Anita won the 2010 Grammy Award
for Best Musical Theater Album.[43]
A live, semistage 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
both the iTunes and Billboard classical charts May
2014. It was released in 2014 as a hybrid SACD
on the SFS Media label, and was nominated for a
Grammy Award for Best Musical Theater Album.

Film

Main article: West Side Story (lm)

On October 18, 1961, a lm adaptation of the musical
was released. It received praise from critics and the public, and became the second highest grossing lm of the
year in the United States. The lm won ten Academy
Awards in its eleven nominated categories, including Best
Picture, as well as a special award for Robbins. The lm
holds the distinction of being the musical lm with the
most Academy Award wins (10 wins), including Best Picture. The soundtrack album made more money than any
other album before it.

10

References in popular culture

In addition to Bernsteins own West Side Story Suite, the

music has been adapted by The Buddy Rich Big Band,
which arranged and recorded West Side Story Medley
on the 1966 album Buddy Richs Swingin' New Big Band,
and The Stan Kenton Orchestra, which recorded Johnny
Richards 1961 Kentons West Side Story, an album of jazz
orchestrations based on the Bernstein scores. It won the
1962 Grammy Award for Best Jazz Recording by a Large
Group.
Songs from the musical have been recorded by popular
artists and adapted to various other performances:
In 1996, the album The Songs of West Side Story was
released. This album included such diverse artists as
Selena (A Boy Like That), Little Richard (I Feel
Pretty), Trisha Yearwood (I Have a Love) and
Salt-n-Pepa, Def Jef, Lisa Lopes, the Jerky Boys,

and Paul Rodriguez all collaborating on Gee, Ocer Krupke, as well as Chick Corea Elektric Band
collaborating with Steve Vai's Monsters on Rumble.
"America" has been covered by The Tijuana Brass
in an upbeat version on an early album and is also
one of Trini Lopez's greatest hits; 1960s progressive
rock band, The Nice, recorded it as an instrumental
protest song and Keith Emerson continued to perform it in concerts with his later groups, Emerson,
Lake & Palmer and 3. The song was also sampled at the beginning of the Yes cover of Paul Simon's America and at the beginning of the Metallica
song Don't Tread on Me, from their Black Album
(1991). Yes also released Somethings Coming
as a single. Led Zeppelins Jimmy Page referenced
America during the guitar/violin bow solo during Dazed And Confused live, on numerous occasions.
In Anger Management, Adam Sandler and Jack
Nicholson sing I Feel Pretty as a stress relief technique.
Alice Cooper incorporated the Jet Song into Gutter Cat vs. The Jets on their Schools Out album.
Prior to that, the band had titled an earlier LP Easy
Action', and used lines from Jet Song in one of its
tracks.
P. J. Proby, Len Barry, Matt Monro and Barbra
Streisand each had hit singles with versions of the
song "Somewhere", while Johnny Mathis, Roger
Williams and again P. J. Proby did likewise with
Maria. Ferrante & Teicher scored a top ten hit
with Tonight"; Eddie Fisher also scored a chart hit
with the song.[74]
Tom Waits opened his 1978 album Blue Valentine with Somewhere"; and 19 years later (1997),
British singing group Pet Shop Boys recorded their
version of the song, using elements of I Feel
Pretty. During their 1997 series of concerts at the
Savoy Theatre, London, they used an extended version of Somewhere that started with One Hand,
One Heart. From 1988 to 1991, Devo performed a
medley of their songs Disco Dancer and Shout based
around a suite featuring a cover of Somewhere.
A recording appears on the live 1989 album Now
It Can Be Told: DEVO at the Palace and a longer
extended demo version appears on the compilation
Recombo DNA which also incorporates the song
Social Fools and the old Devo characters of the
Chinaman and Booji Boy.
Curb Your Enthusiasm extensively referenced West
Side Story in the season seven episode Ocer
Krupke.[75]

12

10 REFERENCES IN POPULAR CULTURE

David Winters, who starred in both the original

Broadway production and the motion picture was
greatly inuenced by West Side Story and had gone
on to choreograph, direct and produce hundreds of
projects with such stars as Barbra Streisand and Elvis
Presley in music and lm. The inuence that West
Side Story had on him can be seen in his choreography and in many of his future projects. Also through
a West Side Story production, in Los Angeles, circa
1962, Winters met and befriended Teri Garr and
Antonia Basilotta (better known as Toni Basil), both
of whom would gure prominently in Winters life
in the future as they would become two of his best
dancers when he became a choreographer.[76][77][78]

The 50th Anniversary of West Side Story celebration was held at the 2011 Ventura Film Festival and included lifetime achievement awards
for Academy Award Winner/Golden Globe Winner George Chakiris and Golden Globe Winner/Academy Award Nominee Russ Tamblyn as
well as honoring a number of other cast members such as Robert Banas, Maria Henly, and Gina
Trikinos.[84]

In 1995, punk rock band Schlong released Punk Side

Story on Hopeless Records. The album was a rerecording of the original soundtrack done in various punk styles, including hardcore, street punk, and
third wave ska.

In the HBO show The Newsroom (season 1 episode

4), main character Will McAvoy compares the rivalry between day time and prime time news shows
as being like Jets and the Sharks.

The song Tonight, Tonight was used in a 1998

Mountain Dew commercial.
An episode of Welcome Back, Kotter, Sweatside
Story, parodies West Side Story when the Sweathogs engage in a rumble with students from rival New
Utrecht High School.
In an episode of That 70s Show, Donna and Jackie
reference West Side Story, and Fezs daydream sequence resembles a scene from it.

In the Friends sitcom episode The One With Chandlers Dad (season 7 episode 22) Chandlers dad
briey sings the chorus of I Feel Pretty during his
cross-dressing burlesque show. The audience shouts
the word gay!" in unison.

A recording of I Feel Pretty has been featured in

North American commercials for Pampers diapers
since 2012 as well as a commercial for Aquana.
The Littlest Pet Shop episode Dumb Dumbwaiter
has a musical number based on Jet Song.
In the 2013 movie "Teen Beach Movie", two teens
are trapped inside a movie called Wet Side Story, in
which a group of surfers and a group of bikers are
competing in a turf war.

Photographer Mark Seliger re-created scenes from

the lm for magazine Vanity Fair called West Side
Story Revisited, using Camilla Belle as Maria, Ben
Barnes as Tony, Jennifer Lopez as Anita, Rodrigo
Santoro as Bernardo and Chris Evans as Ri. Portraying the Sharks are Minka Kelly, Jay Hernandez,
Natalie Martinez, Brandon T. Jackson and Melonie
Diaz. Portraying the Jets are Ashley Tisdale, Sean
Faris, Shane Lynch, Robert Pattinson, Cam Gigandet, Trilby Glover, Brittany Snow and Drake
Bell.[79]
Pixar animator Aaron Hartline used the rst meeting between Tony and Maria as inspiration for the
moment when Ken meets Barbie in Toy Story 3.[80] Helena Mattsson and Mohombi, 2002 cast of Wild Side Story.
Television series Glee features a mash-up of I Feel
Pretty and TLC's "Unpretty", performed by Dianna
Agron and Lea Michele (as their characters Quinn
Fabray and Rachel Berry), in episode 18 of season
two, "Born This Way".[81] The shows third season features a school production of West Side Story,
with multiple songs from the production, performed
by several cast members in episode 2 "I Am Unicorn", episode 3 "Asian F" and episode 5 "The First
Time".[82][83]

Bring It On: In It to Win It has a plot that parallels

West Side Story, and makes the reference explicit to
the point where the two rival cheerleading squads are
named the Jets and the Sharks.
Parodied in the Animaniacs episode West Side Pigeons starring the Goodfeathers and the Sparrows.
Their rivaly mirrors that of the Jets and the Sharks.
Squit also falls in love with Carmoota similarly to
Tony and Maria.

13
In the Tom and Jerry Tales episode The League of
Cats, Toms and Jerrys respective leagues act very
similar to the Jets and the Sharks gangs. They also
perform a number very similar to Jet Song from
the musical.
Beginning in 1973 in Miami Beach segments of the
musicals songs and music, along with other material, were performed there and in Stockholm, Gran
Canaria and Los Angeles in an underground mimical
lampoon called Wild Side Story, mainly a parody of
lip synching, compiled and directed by Lars Jacob.

11

Awards and nominations

[13] Gottlieb, Jack (Guide and Commentary). "'West Side

Story' Fact Sheet. WestSideStory.com, 2001, accessed
August 18, 2011
[14] Laurents 2000, p. 349.
[15] Laurents 2000, pp. 35051.
[16] Some of the music Bernstein wrote for West Side Story, but
that was not used in the production, was later integrated
into the Chichester Psalms.
[17] Burton, Humphrey. Leonard Bernstein by Humphrey
Burton, Chapter 26 WestSideStory.com, 1994, accessed
August 18, 2011.
[18] Laurents, Arthur (August 4, 1957). The Growth of an
Idea. New York Herald Tribune.
[19] Laurents 2000, pp. 35152.

11.1

Original Broadway production

11.2

1980 Broadway revival

11.3

2008 West End revival

[22] Laurents 2000, pp. 35456.

11.4

2009 Broadway revival

[23] Wenner, Jann S.; Levy, Joe (2007). Leonard Bernstein.

The Rolling Stone Interviews. New York: Back Bay Books.
ISBN 0-316-00526-6.

12

See also

13

Notes

[20] Laurents 2000, pp. 32628.

[21] Laurents 2000, p. 354.

[24] Roberts, Terri (Winter 2003). West Side Story: 'We

were all very young'". The Sondheim Review 9 (3).
[25] Laurents 2000, pp. 35758.

[1] http://www.sondheimguide.com/wss.html

[26] Laurents 2000, pp. 36061.

[2] Sarah Waxman, The History of the Upper West Side

ny.com http://www.ny.com/articles/upperwest.html

[27] Laurents 2000, pp. 36265.

[3] About Lincoln Center, City Realty, http://www.

cityrealty.com/nyc/
[4] "'West Side Story plot and production listing guidetomusicaltheatre.com, accessed August 18, 2011
[5] http://ibdb.com/production.php?id=2639
[6] Long, Robert Emmet.
West Side Story Broadway, The Golden Years:Jerome Robbins and The Great
Choreographer-Directors : 1940 to the present, Continuum International Publishing Group, 2003, ISBN 0-82641462-1, p. 96
[7] Information from a Leonard Bernstein.com Archived
March 25, 2012 at the Wayback Machine
[8] Laurents 2000, pp. 329330.
[9] Excerpts from Bernsteins West Side Log, see 1949 and
1955 WestSideStory.com, originally published in 1957,
accessed August 18, 2011
[10] Laurents 2000, p. 334.
[11] Laurents 2000, pp. 33643.
[12] Laurents 2000, pp. 34647.

[28] Suskin, Steven (1990). Opening Night on Broadway: A

Critical Quotebook of the Golden Era of the Musical Theatre. New York: Schirmer Books, p. 697. ISBN 0-02872625-1.
[29] Suskin, Steven (2010). Show Tunes: The Songs, Shows,
and Careers of Broadways Major Composers (4th ed.).
New York: Oxford University Press US, p. 206. ISBN
0-19-531407-7.
[30] "'West Side Story' London Production, 1958 Broadwayworld.com, accessed August 18, 2011
[31] West Side Story: Opening Night Production Credits.
PlaybillVault. Playbill. Retrieved December 28, 2011.
[32] Tedeschi, Rubens (9 July 1981). Broadway saddice ai
guerrieri della notte". l'Unit. Retrieved 26 April 2014
(Italian).
[33] Riedel, Michael. Directors Cut At 90, Playwright Still
Vibrant, Vicious, New York Post, July 27, 2007, p.55
[34] Gans, Andrew. Laurents-Directed 'West Side Story' Sets
Broadway Preview Date Playbill.com, May 23, 2008
[35] Gans, Andrew and Jones, Kenneth. "'West Side Story'
Revival, Directed by Laurents, Sets Broadway Opening
Date. Playbill.com, August 8, 2008

14

[36] Jones, Kenneth. "West Side Story, This Time with Bilingual Approach. Playbill.com, July 16, 2008
[37] Gans, Andrew and Jones, Kenneth. Broadway-Bound
'West Side Story' Revival Launches. Playbill.com, December 15, 2008

13 NOTES

[55] Pittsburgh CLO History of Shows. Pittsburgh CLO website. Archived from the original on May 19, 2011. Retrieved May 19, 2011.
[56] albemarle-london Archive Page, 'West Side Story'"
albemarle-london.com, accessed August 18, 2011

[38] Marks, Peter (December 14, 2008). The Directors

Route Back To 'West Side'". The Washington Post.

[57] "'West Side Story' News, Bregenz Festival westsidestory.com, accessed August 18, 2011

[39] Gans, Andrew. A Song Like That: Collaborators Reconsider Spanish Lyrics in 'West Side Story'". Playbill.com,
August 25, 2009

[58] Information about the translation (in French only) westsidestory08.com, Archived September 26, 2008 at the
Wayback Machine

[40] Gans, Andrew. Cavenaugh, Scaglione, Olivo, Green and

Akram to Lead Cast of 'West Side Story' Revival. Playbill.com, October 28, 2008

[59] "'West Side Story' at the Meralco Theater this September

Thelipinoweb, July 2, 2008, accessed August 18, 2011

[41] Jones, Kenneth. Billy Elliot, Norman Conquests, Hair,

God of Carnage Are Tony Award Winners. Playbill.com,
June 8, 2009
[42] Gans, Andrew and Jones, Kenneth. Nominations for
2009 Tony Awards Announced; Billy Elliot Earns 15
Nominations. Playbill.com, May 5, 2009
[43] Jones, Kenneth. " 'West Side Story' Cast Album Wins
Grammy Award. Playbill.com, January 31, 2010
[44] Woodiel, Paul (July 10, 2010). Gee, Ocer Krupke, I
Need Those Violins. The New York Times. Retrieved
December 17, 2010.
[45] Gans, Andrew. Broadway Revival of 'West Side Story' to
Close in January; Olivo Will Not Return. Playbill.com,
September 15, 2010
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[49] Information from the WestSideStory.com 2002 West Side
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[68] See Simeone, Nigel (2009) Leonard Bernstein: West
Side Story, pp. 8592: 'Sid Ramin and Irwin Kostal:
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[69] Simeone, Nigel (2009). Leonard Bernstein, West Side
Story. Ashgate Publishing, Ltd. ISBN 0754664848.
[70] http://www.arkivmusic.com/classical/Name/
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[71] http://www.musicweb-international.com/film/2003/
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[72] http://www.allmusic.com/album/
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[73] Album reviews, Manchester Evening News, 2007-08-06,
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[74] Joel Whitburn, Top Pop Singles 19551999 (Menomonee
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15

[76] David Winters Credits Internet Movie Database, accessed August 19, 2011
[77] Teri Garr Credits Internet Movie Database, accessed
August 19, 2011
[78] Toni Basil Credits Internet Movie Database, accessed
August 19, 2011
[79] Seliger, Mark (March 17, 2009). West Side Story Revisited. Vanity Fair. Retrieved July 18, 2010.
[80] Hartline, Aaron. Ken meets Barbie A Toy Side Story
aaronhartline.blogspot.com (blog), accessed August 19,
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[81] http://voices.yahoo.com/
i-feel-pretty-unpretty-lady-gaga-episode-glee-8391755.
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Vaill, A. (2006) Somewhere: The Life of Jerome

Robbins Broadway Books, New York, ISBN 07679-0420-6
Wells, Elizabeth A. (2010) West Side Story: Cultural Perspectives on an American Musical Scarecrow Press, Lanham, Maryland, ISBN 978-0-81087666-8
Williams, Mary E. (editor) (2001) Readings on West
Side Story Greenhaven Press, San Diego, California,
ISBN 0-7377-0694-5

15 External links
Website for the newest WSS recording by the San
Francisco Symphony featuring Cheyenne Jackson

[82] http://www.rollingstone.com/movies/news/
West Side Story at the Internet Broadway Database
glee-recap-west-side-story-auditions-and-the-return-of-shelby-corcoran-20110928

The Ocial West Side Story website

[83] http://broadwayworld.com/article/
WORLD-PREMIERE-EXCLUSIVE-GLEE-Takes-On-WEST-SIDE-STORYs-Somethings-Coming-With-Darren-Criss-20110926#
[84] http://venturafilmfestival.org

14

Further reading

Acevedo-Munoz, Ernesto R. West Side Story as

Cinema: The Making and Impact of an American
Masterpiece (University Press of Kansas; 2013) 232
pages
Bauch, Marc A. Europische Einsse im
amerikanischen Musical, Marburg, Germany:
Tectum Verlag, 2013. ISBN 978-3-8288-3209-1
[A unique, paratextual comparison between Romeo
and Juliet and West Side Story]
Bauch, Marc (2001) Themes and Topics of the
American Musical after World War II Tectum
Verlag, Marburg, Germany, ISBN 3-8288-1141-8
described here
Bauch, Marc (2003) The American Musical Tectum
Verlag, Marburg, Germany, ISBN 3-8288-8458-X
described here
Laurents, Arthur (2009). Mainly on directing:
Gypsy, West Side Story, and other musicals Alfred
A. Knopf, New York, ISBN 978-0-307-27088-7
Laurents, Arthur (2000). Original story by: a
memoir of Broadway and Hollywood. New York:
Knopf. ISBN 0-375-40055-9. Retrieved December 17, 2010.
Simeone, Nigel (2009) Leonard Bernstein: West Side
Story Ashgate, Farnham, ISBN 0-7546-6484-8

West Side Story at the Music Theatre International

website
The Ocial West Side Story 50th Anniversary World
Tour website

West Side Story at The Stephen sondheim Reference

Guide
West Side Story Detailed Character Descriptions,
stageagent.com
Twelve Jazz Versions of West Side Story at Jazz.com
2002 Interview with Chita Rivera on West Side Story
at Sondheim Review
SONDHEIM 101: 'West Side Story'" by Leonard
Jacobs from Sondheim Review, Fall 2007
Website on New York City 1950s youth gangs
(German) West Side Story, Musical

16

16

16
16.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

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16.2

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