Overview
Synopsis
Inspired by the timeless story of Romeo and Juliet, West Side Story takes Shakespeare’s star-crossed lovers, and places them in the vibrant battleground of New York City’s West Side in the 1950s. In the midst of the deep-seated rivalry between the Puerto Rican gang, the Sharks, and the white gang, the Jets, Maria and Tony discover that ancient grudges are no match for true love. Their warring factions, however, refuse to back down, and the “rumbles”, romance, and resentment lead the bloody path to the lovers’ ultimate, tragic conclusion With soaring, sophisticated, and diverse melodies, energetic and athletic dance battles, and its remarkably salient social message, West Side Story remains one of American musical theatre’s most revolutionary and most loved treasures.
Show Information
Context
The creation of West Side Story was an extended process, involving decades of work, long periods of drought, and the collaboration of four of American musical theatre’s greatest standalone talents. The original idea for the musical came from director/choreographer Jerome Robbins, who wanted to adapt Shakespeare’s Romeo and Juliet into a musical about the conflict between an Irish Catholic and a Jewish
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Act One
The play opens with a balletic prologue, half-danced, and half-mimed, showing the growing resentment between the Jets, a gang of white “American” boys, and the Sharks, a Puerto Rican gang. Lt Schrank and Officer Krupke, fed up with all the violence on their beat, chase the Sharks away, leaving the Jets to plot a “rumble” with the Sharks (“Prologue”). The Jets’ leader, Riff, plans to challenge the Shark’s leader, Bernardo, at the dance that evening. He then plans to convince his
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Character Portrayals
See StageAgent members who have performed roles in West Side Story - School Edition.
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Songs
Act I
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*"Prologue" (Instrumental) – Jets and Sharks
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*"Jet Song" – Riff, Action, Baby John, A-Rab, Snowboy and Jets
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"Something's Coming" – Tony
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*"Dance At The Gym" (Instrumental) – Jets and Sharks
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"Maria" – Tony
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"Balcony Scene (Tonight)"– Tony and Maria
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*"America" – Anita, Rosalia, Shark Girls
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*"Cool"– Riff and Jets
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"One Hand, One Heart" – Tony and Maria
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*"Tonight Quintet and Chorus" – Anita, Tony, Maria, Bernardo, Riff, Jets and Sharks
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- "The Rumble (Dance)" – Jets and Sharks
Act 2
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"I Feel Pretty" – Maria, Consuelo, Rosalia, Teresita, Francisca and Shark Girls
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*"Somewhere" – Company
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*"Gee, Officer Krupke" – Action, Snowboy, A-Rab, Diesel, Baby John and the Jets
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"A Boy Like That/I Have A Love" – Anita and Maria
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"Finale" – Tony and Maria
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Themes, Symbols & Motifs
THEMES
Forbidden Love
West Side Story reimagines Shakespeare's Romeo and Juliet through the romance between Tony, a former member of the Jets, and Maria, the sister of the Sharks' leader Bernardo. Their love ignites instantly at a neutral dance but remains doomed by the deep-seated rivalry between their groups. Songs like "Tonight" and "One Hand, One Heart" capture the purity and idealism of their bond, portraying love as a transcendent force capable of momentarily bridging divides.
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Directorial Vision
West Side Story is fundamentally a tragedy driven by territorial fear, miscommunication, and the tragic speed at which youthful posturing escalates into irreversible violence. Directors often find success by prioritizing raw, visceral truth over polished nostalgia. While the show is famous for its iconic music and choreography, the staging must never feel like a museum piece or a decorative dance concert. Every movement, vocal line, and staging choice should stem from the immediate threat of survival in an unforgiving urban pressure cooker.
Consider framing the visual and thematic world around isolation and claustrophobia. The world of the Jets and Sharks is defined by tight physical borders and hostile authority figures. The contrast between this oppressive environments and the expansive, idealistic moments between Tony and Maria—such as during "Tonight" or
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Big Question
Can love ever truly survive in a world consumed by hatred and prejudice, or are Tony and Maria doomed from the moment they meet?
Discussion Questions
- The Jets and the Sharks both feel a fierce sense of ownership over the neighborhood streets. What underlying fears, insecurities, or social pressures drive each group to defend their territory so violently?
- How do Tony and Maria each navigate the tension between their loyalty to their friends and family and their feelings for each other?
- In what ways do the adult figures—such as Doc, Officer Krupke, and Schrank—fail the young people in the musical, and to what extent are these adults responsible for the escalating tragedy?
- How does the song "Gee, Officer Krupke" use humor and satire to comment on serious social issues like juvenile delinquency, poverty, and the justice system?
- How does Bernardo’s perspective as a Puerto Rican man navigating life in New York City compare to the experiences and attitudes of the Jets, who view themselves as the "native" Americans?
- Anita acts as a sharp contrast to Maria throughout much of the show. How do their differing views on love, America, and practical survival shape the choices each woman makes?
- Consider the sequence leading up to the Rumble. How do the intersecting motives of the different characters create a sense of inevitability about the violence that unfolds?
- During the "Somewhere" ballet, the characters dream of a place where they can live peacefully together. What prevents them from achieving that ideal world in their reality?
- How does Anita’s attempt to deliver a message to Tony at Doc’s drugstore turn into a pivotal turning point in the story, and who holds the ultimate moral responsibility for what happens next?
- By the end of the musical, Maria chooses not to use the gun on others or herself, but instead uses it to confront both gangs. How does her reaction alter the traditional narrative of revenge and violence?
- Does the tragic ending of the musical offer any genuine hope for reconciliation between the two communities, or does it simply highlight the destructive nature of their conflict?
- Think about a time when you felt caught between the expectations of a group you belonged to and your own personal values. How did you handle that pressure, and what did it teach you about loyalty?
Key Terms
A low female vocal range used in opera and musical theatre, often assigned to mature or dramatic roles.
A male vocal range between tenor and bass, often used for romantic leads, villains, or father figures in opera and musicals.
The lowest male vocal range, typically associated with characters of authority, wisdom, or villainy in opera and musicals.
In musical theatre, the script or spoken text of the show, not including the music or lyrics.
The art of designing and arranging movement sequences for theatrical dance and physical storytelling.
In theatre and film, the ingénue is a stock character representing a young, innocent, and often naïve woman, typically portrayed with charm and vulnerability. She is usually cast as the romantic interest, embodying purity and youthful idealism in contrast to more worldly or complex characters. The role often highlights themes of coming-of-age, first love, and the challenges of navigating adult society.
Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.
A recurring musical theme associated with a particular character, idea, or emotion. Frequently used in opera and musical theatre, leitmotifs help reinforce narrative continuity and emotional cues for the audience.
The complete text of an opera, musical, or other extended vocal work, including all spoken dialogue and lyrics. The libretto provides the dramatic structure and narrative arc, serving as a guide for both performers and directors to align story and music.
Short for mezzo-soprano, a female voice type that sits between soprano and contralto, common in opera and musical theatre.
The process of assigning musical parts to instruments in an ensemble. Orchestration helps shape the sonic texture and emotional tone of a score.
A musical number performed by five singers or characters, common in opera and ensemble moments in musicals.
The written music for a theatrical or operatic work, including vocal and instrumental parts. The score is essential for rehearsals and performances.
The highest female vocal range in classical and musical theatre, often associated with youthful or romantic leads.
A male vocal range above baritone, commonly featured in opera and musical theatre for romantic or heroic lead characters.
A musical notation indicating the number of beats in each measure and which note value receives the beat; essential in musical theatre.
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