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
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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.
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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