Download enrichment guide - Citadel Theatre

ENRICHMENT GUIDE
DIRECTED BY BOB BAKER
Book by ARTHUR LAURENTS
Music by LEONARD BERNSTEIN
Lyrics by STEPHEN SONDHEIM
Play Guides sponsored by
WEST SIDE STORY
TABLE OF CONTENTS
THEATRE ETIQUETTE
3
CAST, ARTISTIC TEAM AND CHARACTERS
4
SYNOPSIS
5-7
MUSICAL NUMBERS
8
ABOUT THE PLAYWRIGHTS
9-12
ROMEO AND JULIET
13-14
SCRIPT REFERENCES
15
RELATED SHOWS
16
PRODUCTION ELEMENTS
17
FURTHER READING/REFERENCES
18-19
CURRICULUM ALIGNMENT
20-21
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WEST SIDE STORY
THEATRE ETIQUETTE
Going to the theatre is an engaging and interactive experience. We want you to be an active participant when you
see our shows; laugh when it’s funny, cry when it’s sad, gasp when it’s shocking, and enjoy the experience as much
as possible. But we want you to do this in the most respectful way possible, for both the performers and your fellow audience members.
To ensure the most positive experience, please review the following information prior to arriving at the theatre.
The following items are not allowed in the theatre:
•Food and drink (except that sold during intermission and/or permitted by the Citadel Theatre, such as bottled water and ice cream)
•Cameras and other recording devices (please note that taking photographs or other recordings in the theatre is
strictly prohibited by law)
Basic courtesy:
•Turn OFF and put away all electronic devices such as cell phones, iPods, video game systems, etc. prior to entering the theatre
•Do not place your feet on the seat in front of you.
•The actors onstage can see and hear the audience during the performance – it is important that audience members
not talk, move around, or fidget during the performance, as this can be distracting for the actors, as well as fellow
audience members.
•There is no dress code at the Citadel Theatre, but we respectfully request that patrons refrain from wearing hats
in the theatre.
•For the safety of those with allergies, please refrain from using perfumes or scented products before coming to
the theatre.
•Please do not place backpacks or other bags in the aisle in front of your feet, as this may impair the ability of persons to exit the row in an emergency.
Inappropriate behavior:
Citadel Theatre representatives watch carefully during performances for inappropriate behavior, especially behavior that could endanger an actor or audience member. Inappropriate behavior includes, but is not limited to:
•Talking in the audience
•The use of laser pointers or other light or sound-emitting devices
•Interfering with an actor or the performance (tripping, throwing items on or near the stage, etc.)
Audience members identified as engaging in this type of behavior will be removed from the theatre during the performance or at intermission.
3
WEST SIDE STORY
CAST, ARTISTIC TEAM AND CHARACTERS
CAST
JULIEN ARNOLD
Gladhand/Shrank
JORDAN JOSEPH MAH
Luis
ERIC DAHLINGER
Snowboy
LUCAS MEEUSE
Chino
MARIA FERNANDES
Consuela
NATALIE MOORE
Velma
CAMERON PARKER FRANCIS
Baby John
GLENN NELSON
Doc
PAMELA GORDON
Anita
MATT O’CONNOR
Riff
JASON HARDWICK
Big Deal
MELANIE PIATOCHA
Anybodys
DANI JAZZAR
Bernardo
KRISTEN POTTLE
Rosalia
ALEX KELLY
A-Rab
ALISON ROBERTS
Minnie/Margarita
KRYSTAL KIRAN
Francisca
TRAVIS SEETOO
Pepe
GEORGE KRISSA
Tony
EVA TAVARES
Maria
GRANT LANDRY
Diesel
JESSICA VANDENBERG
Graziella
DAVID LIGHT
Action
BENJAMIN WARDLE
Indio
JAMES MACDONALD
Krupke
CREATIVE TEAM
BOB BAKER
Director
MICHELLE CHAN
Stage Manager
WAYNE PAQUETTE Assistant Director
AL GADOWSKY
Assistant Stage Manager
NICK BLAIS
SANG-SANG LEE
Assistant Stage Manager
LORE GREEN
Apprentice Stage Manager
Set & Lighting Designer
PHILLIP CLARKSON Costume Designer
MICHAEL LAIRD
Sound Designer
DON HORSBURGH
Music Director
LAURA KREWSKI
Choreographer
JONATHAN PURVIS Fight Director
Season Sponsor:
Presentation Sponsors:
Production Sponsors:
4
WEST SIDE STORY
SYNOPSIS
Act 1
Two rival teenage gangs, the Jets
(Caucasian) and the Sharks (Puerto
Rican), struggle for control of the
neighborhood somewhere in the West
Side of New York City amidst the police
(Prologue). They are warned by Lt.
Schrank and Officer Krupke 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
2009 Broadway Revival cast
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 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, fall in love, and kiss, 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 1980 Broadway Revival cast performing “America”
5
WEST SIDE STORY
SYNOPSIS Continued
Act 1 Continued
The Jets get antsy while waiting for the Sharks inside Doc's Drug Store. 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 Tony, ridiculing his attempt to make peace and provoking him in every way, 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.
Only the bodies of Riff and Bernardo remain.
2011 National Tour, rumble scene
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WEST SIDE STORY
SYNOPSIS Continued
Act 2
Blissfully unaware of the gangs' plans for that night, Maria daydreams about seeing Tony with her friends—
Rosalia, 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 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, now led by Action. 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 accepts Anybody's 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"), though, 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, including Anybodys, 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.
Natalie Wood performing “I Feel Pretty” in the 1961 film.
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.
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WEST SIDE STORY
MUSICAL NUMBERS
Act 1
1."Prologue" (Instrumental)
2. "Jet Song" – Riff and Jets
3. "Something's Coming" – Tony
4. "The Dance At The Gym" (Instrumental)
5. "Maria" – Tony
6. "Balcony Scene" - Maria and Tony
7. "America" - Anita, Rosalia and girls
8. "Cool" – Riff and Jets
9. "One Hand, One Heart" – Tony and Maria
10. "Tonight" – Maria, Tony, Anita, Riff, Bernardo
11. "The Rumble" – Instrumental Act 2
Act 2
12. "I Feel Pretty" – Maria and the Girls
13. "Somewhere" – Company
14. "Gee, Officer Krupke" – Jets
15. "A Boy Like That" / "I Have a Love" – Maria and Anita
16. "Taunting Scene" (Instrumental)
17. "Finale" – Maria and Tony
2009 Broadway Revival cast
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WEST SIDE STORY
ABOUT THE PLAY
ORIGNIAL PRODUCTION
West Side Story written by Arthur Laurents, Leonard Bernstein, and Stephen Sondheim, is based on
Shakespeare’s Romeo and Juliet, set in 1950s New York. The show premiered on Broadway in 1957,
was directed by Jerome Robbins and ran for 734 performances. Originally Robbins wanted James
Dean to play the lead role of Tony, but the actor had recently died so Larry Kent starred alongside
Carol Lawrence and Chita Rivera. At the 1957 Tony Awards West Side Story was nominated for six,
including best musical, winning two for scenic design and choreography.
CONCEPTION
Jerome Robbins in 1947 approached Laurents and Bernstein with an idea about doing a modern
musical adaptation of Romeo and Juliet. In the earlier stages of writing, Laurents originally titled
the show East Side Story and had the plot revolve around
the conflict between Jewish and Catholic gangs in New York,
instead of the scripts current rivalry between Puerto Ricans
and Caucasians. Laurents was concerned that the themes of
the show correlated too closely with other works of the
time, specifically the play Abie’s Rush. The group gave up
on East Side Story, and the show was shelved for five years.
In the meantime, Sondheim had auditioned to write the
score for a musical Laurents was writing the book for,
Serenade. Laurents liked the wit in the lyrics, but was
Stephen Sondheim, Arthur Laurents, Harold
unimpressed with Sondheim’s musical composition. When
Laurents and Bernstein decided to revisit the script for East Prince, Robert E. Griffith, Leonard Bernstein and
Side Story Sondheim was hired on as co-lyricist. By the time Jerome Robbins.
West Side Story got to previews in Washington DC, the lyrics were exclusively Sondheim’s, with the
exception of a line or two, so Laurents removed his name from the lyric writer list.
FILM ADAPTATION
In 1961, the popular musical was made into a film. Jerome Robbins returned to the script codirecting
the film with Robert Wise. It stars Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, and
George Chakiris, with Marni Nixon and Jimmy Bryant dubbing in Tony and Maria’s singing voices. The
movie stuck very closely to the original musical script, with a few differences including Maria and
Tony singing “Somewhere” together instead of an undefined female character. The song “America”
changed to become a lighthearted argument between Bernardo and Anita, instead of Anita and
Rosalia.
The film was nominated for 11 Academy Awards, winning 10, which at the time was the record
amount of wins for a movie musical. West Side Story was the second highest grossing film in the US,
and was praised by both critics and the public.
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WEST SIDE STORY
THE PLAYWRIGHT
ARTHUR LAURENTS (Book)
Arthur Laurents is best know for writing
West Side Story, Gypsy and the Hollywood
blockbuster The Way We Were. Laurents
was born as Arthur Levine July 14, 1917.
He later changed his last name to
“Laurents” because he was concerned
“Levine” was too Jewish sounding and
prevented him from getting a job.
Laurents went to Cornell University and
later took a night class at New York
University in radio writing.
Not too long after selling his first radio
play to CBS for thirty dollars, Laurents
was drafted to the US army during the middle of World War II. Laurents’ duties while with the military
consisted of writing training films and radio scripts for Arms Service Force Presents. His work with the
military provided Laurents with plenty of opportunities to come in contact with some of the best film
directors in the US. His first script for was directed by distinguished
director George Cukor (best known for Gone With the Wind and My
Fair Lady). In 1945 his first stage play Home of the Brave was
produced. Home of the Brave was later bought as a screen play,
which gave Laurents the launch he needed into the film industry.
Laurents, while writing screenplays dabbled back and forth with
plays, and radio writing. The most important of his early screenplays
was his adaptation of Rope for Alfred Hitchcock.
In 1962 Laurents starting directing plays and musicals. His First
direction credit was I Can Get it For You Wholesale which stared
Barbra Streisand and was a early stepping stone in her career as
well. Next Laurents directed Anyone Can Whistle which he had also
wrote the book for. The show turned into an infamous flop, but he
later had success writing the books for shows like Hallelujah Baby!
and La Cage Aux Folles. Laurents returned to directing 2008 when he
did the revival of his own show Gypsy staring Patti LuPone. In 2009
Laurents directed a revival of West Side Story which he had adapted
to include Spanish for most of the songs and some of the dialogue for Patti LuPone in the 2008 revival of “Gypsy”
the musical’s Puerto Rican characters.
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WEST SIDE STORY
THE PLAYWRIGHTS Cont...
LEONARD BERNSTEIN
Leonard Bernstein (August 25, 1918 – October 14,
1990) was an American composer, conductor,
author, music lecturer, and pianist. He was among
the first conductors born and educated in
the United States of America to receive worldwide
acclaim. According to music critic Donal Henahan,
he was "one of the most prodigiously talented and
successful musicians in American history."
His fame derived from his long tenure as the music
director of the New York Philharmonic, from his
conducting of concerts with most of the world's
leading orchestras, and from his music for West
Side Story, Peter Pan, Candide, Wonderful Town,
On the Town, On The Waterfront, his Mass, and a
range of other compositions, including three
symphonies and many shorter chamber and solo
works.
Bernstein was the first conductor to give numerous
television lectures on classical music, starting in
1954 and continuing until his death. He was a
skilled pianist, often conducting piano concertos from the keyboard.
As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film
and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works
are regularly performed around the world, although none has matched the tremendous popular and
commercial success of West Side Story.
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WEST SIDE STORY
THE PLAYWRIGHTS Cont...
STEPHEN SONDHEIM (Lyrics)
Stephen Sondheim is an American Musical Theatre
composer and lyricist born in New York City, March
22, 1930. Although Sondheim wrote just the lyrics
for West Side Story, he is best know for his shows
that he wrote both the music and lyrics for,
including but not limited to, Sweeny Todd, Into
the Woods, Sunday in the Park With George,
Company, and A Little Night Music. Sondheim is
well-know for the complexity in his writing that
usually includes angular harmonies, witty lyrics,
intricate melodies and polyphony (use of two
independent melodies at once).
At age ten Sondheim met renowned musical
theatre composer Oscar Hammerstein II, a
relationship that grew into a mentorship and
friendship. When Sondheim was 22, Hammerstein
asked him to write 4 musicals to be evaluated.
Sondheim received a formal education when he
attended Williams College for the Theatre Program, and studied separately under composer Milton
Babbitt.
Sondheim is acclaimed and well-rewarded for his
work. Sondheim won the Pulitzer Prize for Drama for
Sunday In the Park With George in 1985. He has won
eight Tony Awards (including a special Life Time
achievement award), eight Grammys, seven Drama
Desk Awards, and five Laurence Oliver Awards. Among
other honors, Sondheim has been inducted into the
American Theatre Hall of Fame, was given the
Kennedy Center Honors Lifetime Achievement Award
(1993), and was Awarded the Presidential Medal of
Freedom (2014).
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WEST SIDE STORY
WEST SIDE STORY AND ROMEO AND JULIET
West Side Story is a modern adaptation of Shakespeare’s Romeo and Juliet set in the 1950s. West Side
Story follows a love story and between two members of rival gangs, the Jets, and the Puerto Rican Sharks.
Romeo and Juliet inspired the story line with the rivalry between two opposing families the Capulets and
the Montagues. Here are some comparisons between the characters in the musical and the original play.
ROMEO and TONY
Both Romeo and Tony are the lead male characters who are well respected within their own family/gang.
The characters follow the same skeleton of a story line with some exceptions. At the Beginning of the original script Romeo is infatuated with Rosaline, another female in Verona. In the musical, Tony has no previous love interest to Maria mentioned within the script. Romeo an Juliet get officially married, and Tony
and Maria only dream about it, carrying out a fake ceremony themselves. At the end of the play Romeo
kills himself, but in the musical Tony is killed by Chino.
JULIET and MARIA
Maria is the modern Juliet. Both females enter forbidden relationships with men (Tony and Romeo) from
the rival family/gang. Differences between characters include Juliet having wealth whiles Maria is considered a second class citizen. At the end Juliet commits suicide and Maria does not die at all.
MERCUTIO and RIFF
Both of these characters are the best friends of the male protagonist. The biggest difference between the
two is that Riff is a leader of one of the two rival gangs, and Mercutio does not belong to a particular side.
TYBALT and BERNARDO
Both of these characters are brothers to the lead female character. They are leaders in their respected
gang and are killed by the Tony/Romeo.
NURSE and ANITA
These women are the closest confidant for the lead female characters. Although the Nurse has a close relationship with Juliet, it is different than the one between Anita and Maria. The Nurse has cared for Juliet
since Juliet was a baby and takes on more of a motherly role. Anita is a very close friend of Maria and is in
a relationship with her brother Bernardo. The Nurse has no mentioned love interest. Because of Anita’s
relationship with Bernardo, there is a bit more tension between Anita and Maria when Tony kills Bernardo.
The Nurse does not take as bitterly to the death of Tybalt.
FRIAR LAWRENCE and DOC
Both of these characters act as mediators between the two rival groups. Doc runs a convenience store and
Friar Lawrence works in the catholic congregation. These characters are trusted by the male and female
leads to help facilitate their relationships with each other because of the conflict between families. Friar
Lawrence marries Romeo and Juliet, and also creates a potion for Juliet to simulate death. Doc does neither of these activities, but is the one to harbor Tony when the sharks are looking to kill him. Doc passes
on news from Anita to Tony that Maria has been killed (unaware of the truth). Doc’s store is also neutral
territory for the two gangs in West Side Story, just as churches historically are concerned neutral.
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WEST SIDE STORY
Romeo and Juliet Cont.
BENVOLIO and BABY JOHN
Both characters are among the younger members of their gang/family and are apt to defuse violent situations. The difference in characters comes in motivation. Benvolio has a genuine interest in reducing the
conflict between the two feuding groups and Baby John is encouraged more through fear, living up to his
name “Baby” John.
PARIS and CHINO
Paris and Chino are intended each to marry Juliet and Maria respectively. Paris in the original play is
stabbed by Romeo in a Duel, whereas the end of West Side Story has the complete opposite scenario
where Tony is shot by Chino.
MONTAGUES and JETS
The Montagues are the family of Romeo and the Jets are the gang that Tony belongs to.
CAPULETS and SHARKS
The Capulets are the family of Juliet and the sharks are the Puerto Rican gang that Maria is associated
with because of her race and because of her brother’s leadership within the gang.
PRINCE ESCALUS and KRUPTKE
Both characters are in charge of keeping peace in their cities, Prince Escalus being a monarch in Verona,
and Kruptke a police officer in New York. Kruptke’s involvement in West Side Story is a little more extensive than his counterpart's in Romeo and Juliet. The writers of the musical bring in Kruptke more frequently so that members of the Jets poke fun at the character as a way to lighten the mood in-between
serious scenes.
SAMPSON & GREGORY and ACTION
These characters are the most aggressive within the Montagues/Jets. Sampson and Gregory are the two
that initiate the fight at the beginning of Romeo and Juliet and Action is always interested in the progress
of a rumble. These characters are highly motivated by their dislike for the opposing group.
ABRAM and A-RAB
Non-essential but helpful members of their family/gang.
BALTHASAR and ANYBODYS
Both of these characters are loyal friends to Romeo and Tony. Balthasar breaks the news to Romeo about
Juliet’s death, unaware that her death is actually a ruse. Anybodys, a tomboy, is the only female member
of the Jets. Anybodys, with Tony’s safety in mind, spies on the sharks and tells the rest of the Jets Chino’s
plan to kill Tony. Anybodys also tries to prevent Tony from turning himself into Chino after Tony thinks
Maria is dead.
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WEST SIDE STORY
SCRIPT REFERENCES
ETHNIC TENSION, 1950s NEW YORK
Puerto Ricans had a spike in immigration to New
York City during the 1950s and 60s. People were
flocking to New York after World War II to find new
opportunities and a better life. Because everyone
had a similar idea, there were large amounts of
people competing for the same jobs and housing.
This competition created some of the tension
between ethnic groups. Different groups felt
ownership over particular opportunities and others
that they were being discriminated against for not
being allowed the same opportunities. This
attitude is well displayed in West Side Story
throughout, with the boys in the Jets complaining
about the Puerto Ricans taking their “Old man’s
job” (according to their old man).
The Puerto Rican Theatre New York, NY, 1955
West Side Story was a relative reflection of the
gang environment rampant among the youth in New York at the time. The different areas of the city were
divided into neighborhoods inhabited almost
exclusively by a particular ethnic group. Within
these neighborhoods teenage gangs formed and
would protectively patrol their plot of land. These
gangs fought amongst themselves, not over drugs
like we see today, but over turf. An intrusion into
another gangs neighborhood was often seen as an
act of aggression and would often result in rumble.
Rumbles were battles pitched beforehand in a
meeting amongst representatives of each gang
involved to go over the terms of the rumble. West
Side Story emulated these meetings with the postdance rumble meeting at Doc’s between the Sharks
and the Jets.
Members from the Vampires, a Puerto Rican gang prevalent in New
York in the 1950s.
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WEST SIDE STORY
RELATED SHOWS
CAPEMAN
Paul Simon’s musical Capeman, released in 1998 chronicled the life of Salvador Agron. Argon, a 16-yearold Puerto Rican gang member in New York, was nicknamed “Capeman” for wearing a cape while
murdering two teenagers in 1959. The
two people killed were mistaken by
Agron as two opposing gang members
showing up to a fight. The musical had
negative reviews, which could have been
influenced in part by the theatre
industry’s dislike for Simon, and
discomfort for racial and ethnic themes
at the time (as speculated by The
Progressive). Paul Simon’s score and Bob
Crowley's set were amongst the only
aspects that received praise for the
show. Capeman has never been done
again fully in it’s original form. Songs
from the show have been used in
concert, and a highly condensed version
of the show ran for three performances
in Central Park’s Delacorte Theatre in
Press photos from Salvador Agron’s original arrest in 1959.
2010.
IN THE HEIGHTS
In the Heights opened on Broadway in 2008, to
great critical an audience acclaim. The show
was nominated for thirteen Tony Awards,
winning four including Best Musical, Best
Original Score, Best choreography, and best
orchestrations. The musical is about a
prominently Latina neighborhood in New York’s
Washington Heights. It’s a community on the
brink of change, full of hopes, dreams and
pressures, where the biggest struggles can be
deciding which traditions you take with you,
and which ones you leave behind. The show
draws parallels with West Side Story with the
Poster from the original Broadway production in 2008
setting and the conflict rooted from
disapproval of the inter-racial relationship between characters, Benny and Nina.
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WEST SIDE STORY
PRODUCTION ELEMENTS
THRUST STAGE
The Thrust stage configuration is one of the oldest in theatre history. It refers to a stage (or performance space) that
extends forward into the audience. A thrust stage configuration is especially effective for drawing in the audience and
actively connecting them with the action onstage.
Wall/ Backstage Area
Audience
Audience
Audience
The Maclab at the Citadel is an example of a thrust stage. This type of stage is used to extend the playing space out
into the audience. In West Side Story, director Bob Baker utilizes the entire theatre and has actors entering and exiting
through vomitoriums (voms) and onto the stage. The mise en scene for West Side Story is especially effective as it amplifies the audiences’ sense of community. While the thrust stage is a great asset in creating an amazing production it
does require conscientious collaboration between the actors and the audience. Both of these groups need to be aware
of each other to allow the performance to run smoothly. As an audience member be sure to keep all of your belongings
stowed beneath your seat and to remain in your seat throughout the performance.
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WEST SIDE STORY
REFERENCES/FURTHER READING
West Side story Wikipedia http://en.wikipedia.org/wiki/West_Side_Story
Broadway musical home http://www.broadwaymusicalhome.com/shows/westside.htm
Internet Broadway database http://www.ibdb.com/person.php?id=4307
Film https://en.wikipedia.org/wiki/West_Side_Story_(film)
Arthur Laurents http://en.wikipedia.org/wiki/Arthur_Laurents#cite_note-22
George Cukor https://en.wikipedia.org/?title=George_Cukor
Laurents Obituary http://www.theguardian.com/stage/2011/may/06/arthur-laurents-obituary
Stephen Sondheim http://en.wikipedia.org/wiki/Stephen_Sondheim
http://www.achievement.org/autodoc/page/son0int-3
Leonard Bernstein http://www.leonardbernstein.com/composer.htm
http://en.wikipedia.org/wiki/Leonard_Bernstein
WWS Soundtrack http://en.wikipedia.org/wiki/West_Side_Story_%28soundtrack%29
Characters https://prezi.com/xnmwhizj8tnx/romeo-and-juliet-vs-west-side-story/
Romeo and Juliet Characters http://www.sparknotes.com/shakespeare/romeojuliet/canalysis.html
Real Gangs of New York http://www.telegraph.co.uk/culture/donotmigrate/3556888/50-years-of-West-Side-Story-the-realGangs-of-New-York.html
http://newyorkcitygangs.com/?page_id=493
http://www.nysun.com/arts/gangs-of-newyork/62756/
http://www.npr.org/templates/story/story.php?storyId=12350113
Puerto Rican Migration to New York https://en.wikipedia.org/wiki/Puerto_Rican_migration_to_New_York_City
http://conference.ifla.org/past-wlic/2011/107-casillas-en.pdf
Capeman https://en.wikipedia.org/wiki/The_Capeman
Paul Simon https://en.wikipedia.org/wiki/Paul_Simon
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WEST SIDE STORY
REFERENCES/FURTHER READING Cont.
Salvador Argon https://en.wikipedia.org/wiki/Salvador_Agron
https://books.google.ca/books?id=J-gCAAAAMBAJ&pg=PA43&lpg=PA43&dq=%22louis+hernandez%22+%
2Bcapeman&source=bl&ots=3VR20DBPqg&sig=elNvOyg4re2WC9589nrqBfJfxzA&hl=en&sa=X&ei=vIluT9DpB4qv0AHO97T6Bg#v=onepage&q
=%22louis%20hernandez%22%20%2Bcapeman&f=false
http://newyorkcitygangs.com/?page_id=99
Baltimore Sun Review of Capemanhttp://articles.baltimoresun.com/1998-02-08/features/1998039073_1_capeman-paul-simonnewsday
In the Heights https://en.wikipedia.org/wiki/In_the_Heights
http://www.rnh.com/show/50/In-the-Heights
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WEST SIDE STORY
CURRICULUM ALIGNMENT
Curriculum Connections:
Participation as an audience member at the Citadel Theatre aligns with the Alberta Education Curriculum. We’ve outline
below some (but not limited to) objectives which are developed through the viewing of live theatre:
Drama (Elementary)
Third Goal
To foster an appreciation for drama as an art form
Objectives
The child should:
1. develop an awareness of an respect for potential excellence in self and others
2. Develop a capacity to analyze, evaluate and synthesize ideas and experiences
3. Develop an awareness and appreciation of the variety of dramatic forms of expression.
Specific Learner Expectations:
Intellectual—develop and exercise imagination; develop concentration
Emotional—explore emotion; control emotion; express emotion
Social—understand others; discipline self; develop appreciation of the work of self and others; cope with emotional responses
Integrative—learn to respond to stimuli; e.g., music, pictures, objects, literature; test and reflect on the consequences of
dramatic decisions
Drama (Junior High)
GOAL I
To acquire knowledge of self and others through participation in and reflection on dramatic experience.
Objectives
The student will:
• strengthen powers of concentration
• extend the ability to think imaginatively and creatively
• extend the ability to explore, control and express emotions
• extend the ability to explore meaning through abstract concepts

develop the ability to offer and accept constructive criticism
GOAL III
To develop an appreciation for drama and theatre as a process and art form.
Objectives
The student will:

develop awareness of various conventions of theatre

develop awareness of drama and theatre by viewing as great a variety of theatrical presentations as possible

develop the ability to analyze and assess the process and the art

develop recognition of and respect for excellence in drama and theatre
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WEST SIDE STORY
CURRICULUM ALIGNMENT
Drama 10-20-30
GOAL I
To acquire knowledge of self and others through participation in and reflection on dramatic experience.
Objectives
The Student will:

extend the ability to concentrate

extend understanding of, acceptance of and empathy for others

demonstrate respect for others — their rights, ideas, abilities and differences (S)

demonstrate the ability to offer, accept, and reflect upon, constructive criticism.
GOAL II
To develop competency in communication skills through participation in and exploration of various dramatic disciplines.
Objectives
The Student will:

demonstrate understanding of integration of disciplines to enrich a theatrical presentation.
GOAL III
To develop an appreciation of drama and theatre as a process and art form.
Objectives
The student will:
• explore various conventions and traditions of theatre
• broaden knowledge of theatre by viewing as great a variety of theatrical presentations as possible (
• demonstrate the ability to assess critically the process and the art
• demonstrate recognition of and respect for excellence in drama and theatre
• develop an awareness of aesthetics in visual and performing arts.
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