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Superjail!

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Superjail!
Superjail!.jpg
Title card for Superjail!
 
Genre
Black comedy
Splatter
Slapstick
Created by
Christy Karacas[1]
 Stephen Warbrick[1]
 Ben Gruber[1]
Developed by
Augenblick Studios
Voices of
David Wain
 Christy Karacas
 Teddy Cohn
Christopher McCulloch
 Richard Mather
Dana Snyder
Eric Bauza
Opening theme
"Comin' Home" by Cheeseburger featuring Doc[2]
"Rubber Bullets" by 10cc (pilot only)
Country of origin
United States
Original language(s)
English
No. of seasons
3
No. of episodes
30 (and 1 pilot) (List of episodes)
Production

Executive producer(s)
Christy Karacas
 Stephen Warbrick
 Ben Gruber
Producer(s)
Shannon Prynoski
Chris McCulloch (consulting)
Running time
11 minutes
Production company(s)
Williams Street
Augenblick Studios (2007–2008)
Titmouse, Inc. (2011–present)
Broadcast

Original channel
Adult Swim
Picture format
4:3 SDTV (pilot only)
16:9 HDTV
Original run
Pilot:
 May 13, 2007
Episode 1 sneak peek:
 April 1, 2008
Official:
 September 28, 2008 – present
External links
Website
Superjail! is an American animated television series produced by Augenblick Studios in its first season, and by Titmouse, Inc. in its the second and third season. A fourth season was confirmed on David Wain's Twitter,[3] who voices The Warden character. The series follows the events that take place in an unusual prison.[4] The pilot episode aired on television on May 13, 2007, and its first season began on September 28, 2008. Superjail! is characterized by its psychedelic shifts in setting and plot and extreme graphic violence, which give the series a TV-MA-V (for graphic violence and bloodshed) rating.[5] These elements are depicted through highly elaborate animated sequences, which have been described as "baroque and complicated and hard to take in at a single viewing".

Contents
  [hide] 1 Setting and premise
2 Theme Song
3 Influences
4 Characters
5 Episodes
6 DVD releases
7 References
8 External links
Setting and premise[edit]
The majority of Superjail! is set inside the eponymous prison, located in an alternate dimension identified as "5612." Externally, Superjail is built underneath a volcano which is itself located inside of a larger volcano. Internally, it seems to constitute its own reality, where the fabric of time and space is extremely fluid and changes at the whim of the Warden. It has been indicated that the prison itself has a degree of sentience, and that the nature of the prison is fluid according to the perceptions of the individual. Superjail's inmate population is stated by Jared to be in excess of 70,000, although the show's creators mention that the jail processes "billions of inmates". Superjail is overseen by an individual known only as "The Warden," an amiable psychopath with apparently magical powers who uses the prison (and prisoners) to satisfy his numerous whims.
In the first season, each episode begins with a linear story revolving around an irresponsible scheme concocted by the Warden to satisfy some personal desire. The episode builds up in both violence and surrealism into a climactic, psychedelic blood bath during which dozens of inmates are brutally or gruesomely murdered, either by one another or some external force. Some episode plots have no resolutions at all, with the story simply stopping when events have reached their most chaotic. Regardless, the status quo is always restored by the next episode unless the episode is a multi-part one.
Beginning with the second season, the creators modified the format of the series to focus more on character development and story, as imagined by a revised writing staff.[6] The second season premiere "Best Friends Forever" demonstrated an immediate break from the first season's template, focusing the episode on Jailbot and Jacknife as opposed to the Warden, setting half of the episode outside of the prison, and lacking an extended murder sequence in the climax.
The third season of the show attempted to meld the formats of the first two seasons, continuing a focus on character development and ongoing storylines while reviving the technique of ending each episode with a complex murder sequence.[7]
Theme Song[edit]
The theme song for the show is "Comin' Home" sung by the group Cheeseburger. An acoustic version (also sung by Cheeseburger) can be heard as the opening to the episode Time Police Part 2. The song is used in every episode except for two: the pilot Bunny Love, and The Budding of the Warbuxx. Bunny Love opens with "Rubber Bullets" by 10cc, and The Budding of the Warbuxx has no opening song.
Influences[edit]
In an interview, creator Christy Karacas said influences for the show include Tex Avery, Child art, Bob Clampett, Vince Collins ("Malice in Wonderland"), Sally Cruikshank, Dave and Max Fleischer, The Itchy & Scratchy Show, Looney Tunes, Mad, The Muppets, Yellow Submarine, Outsider art, Gary Panter, Pee-wee's Playhouse, Schoolhouse Rock!, Earthworm Jim, Dr. Seuss, and Underground comix.[8]
Characters[edit]

 

 From left to right, going down: The Warden, Jared, Alice, Jailbot, The Doctor, The Twins, Jacknife, Gary and Bird, and Jean and Paul.The Warden (David Wain) – the proprietor of Superjail. A tall and thin man clad in a purple tailcoat and top hat, gloves, red cummerbund, and yellow-tinted glasses, the Warden has been described as a "sadistic Willy Wonka".[9] Although he possesses an ever-cheerful and optimistic demeanor, he is a severely warped individual due to his upbringing by a cruel and strict father who was the previous warden. As a result, the Warden devised Superjail as a means for expressing himself and regularly endangers the lives of Superjail prisoners and staff, often intentionally, to satisfy some unusual whim. Rather than handling any actual administrative tasks, he spends most of his time lusting after chief guard Alice or indulging his own bizarre fantasies. In one episode depicting an alternate future, the Warden ruthlessly subjugates the entire human race, turning the whole world into a single prison state. The Warden also has the ability to break the laws of reality as he can transform himself into practically anything and can contort his body in unnatural ways. These transformations are usually done to illustrate his point.
Jared (Teddy Cohn) – Superjail's large-headed, long-moustached, uptight/high-strung accountant and the Warden's primary assistant. Jared handles most of Superjail's administrative duties as well as extracurricular activities, such as the Superjail Newspaper. He was first taken to Superjail as a prisoner for unknowingly working for the mafia, and got his job when he impressed the Warden with his intelligence and financial skills. He is in recovery for, according to the show's creators, every addiction possible, including alcoholism, drug addiction, gambling, sex addiction, and compulsive eating. Periodically, Jared suffers relapses into his addictions, especially when he is stressed out or temptation proves to be too much for him.
Alice (Christy Karacas) – the hulking, muscular head guard of Superjail, who is transgender and regularly engages in sadomasochistic rituals with the prisoners (often without their consent), though she rebuffs the Warden's constant advances. She was originally a male guard at a normal prison who got a sex change when she fell in love with that prison's warden. However, she was fired as a result of the prison's warden ultimately turning out to be homosexual and deeming her a monster, but was hired by the Warden shortly after.[10] While Alice is apparently taking hormone therapy (to the point that she has grown breasts), she becomes angered when anyone refers to her as male, and publicly considers herself a woman. The season two finale directly states that she has not yet undergone genital reconstruction surgery (the show also makes a point of showing off Alice's still-present male genitalia as a running gag -artistically portrayed as a prominent bulge under her clothing -on a constant basis).
Jailbot – a tombstone-shaped levitating robot that the Warden made to perform tasks in and around Superjail. He was created by the Warden himself, and kills innocents without mercy while capturing Jacknife during the show's opening sequence, and inmates at other times. In the episode "Jailbot 2.0", the Warden claims that Jailbot single-handedly built the vast prison, but flashbacks suggest that Jailbot is really the latest in a series of similar robots. He is mute, with a dot matrix screen that displays a simple expressive face.[8] Despite his ruthlessness, Jailbot also possesses a childlike personality, protecting the Warden from any harm and watching out for the welfare of young children who come across his path, however, he can be cold and ruthless to children who are mean to him; Christy Karacas described him as a "red headed stepchild... seeking approval." He has even shown compassion for Jacknife, releasing him and allowing his escape in "Best Friends Forever".[10]
The Doctor (Christopher McCulloch) – the resident physician of Superjail. He regularly experiments on the inmates in grotesque ways, and has a German accent, but at times says words in French. It was revealed in 'Vacation' that he fought in World War II and was at one point a POW.
The Twins (Richard Mather) – green-blooded, blond, identical twin aliens with European-sounding accents who inhabit a laboratory underneath Superjail and wear outfits resembling those worn by the Sandmen in Logan's Run. They took a year abroad trip to Earth and then decided to stay, much to their father's chagrin. Their on-screen appearances are accompanied by techno music. The Twins use their alien powers—including teleportation, shrinking, and materializing various items to interfere with the Warden's plans for their amusement. Although their plots often result in mass death and destruction, the Twins do not appear to harbor any malice towards either the Warden or the prisoners.
Jacknife (Christy Karacas) – a low-level criminal who appears in the openings of most episodes before getting captured by Jailbot. His subsequent journey to Superjail makes up the opening credits sequence. He is often depicted escaping the jail during the murder sequences in the first season and periodically throughout seasons two and three. He never speaks and communicates only by way of animalistic grunts and shrieks. He is labeled by Jared to be Superjail's most vile inmate due to his upbringing and near lack of any form of morality. Jacknife is depicted as being short-tempered, violent, greedy, and misogynistic. During the events of Oedipus Mess, Jacknife is revealed to have sired a son with one of Ultra-Prison's inmates. Having recognizing the child as his, Jacknife escaped while the Warden created 1,000 clones of Jacknife that run amok world wide until all but the original are killed off. In the Season 3 premiere a female version of Jacknife causes chaos at a male strip club suggesting that Jacknife either has a sister or a wife.
Gary and Bird – Gary is a silent, bespectacled man obviously based on Robert Franklin Stroud, the Birdman of Alcatraz. However, Gary is mostly a servant to Bird, a small female canary, who appears to be the unofficial "boss" of all the prisoners in Superjail until Lord Stingray got imprisoned. In the episode Uh Oh, It's Magic, Gary uses his ventriloquism to throw his voice into the Warden's puppet Prison Peedee to stage a break out. But the plan is foiled prior to Gary's vocal cords being surgically removed and discarded. However, having a will of its own, Gary's voice box (Dana Snyder) possessed a rat and built a rat army by the events of Planet Radio where he teamed up with Stingray to lead a full uprising against the Warden using pirated radio. But the coup failed and the rat is killed while Gary's voice box ended up in the discarded Prison Peedee puppet and far from accepting defeat.
Paul Guaye and Jean Baptiste Le Ghei (Christopher McCulloch, Stephen Warbrick) – Two homosexual inmates that can be seen in nearly every episode. They were the leaders of the rival "Purple Pythons" (Jean) and "Double Rainbow" (Paul) gangs in Superjail, which parodies the 1961 musical West Side Story. They fell in love as a result and eventually got married. Paul is depicted as being the more feminine of the couple and is somewhat controlling of Jean. Jean is more of the stereotypical male. Despite being violent criminals, the two of them are actually somewhat kind and caring towards others and are respected by the other inmates.
Ash (Christopher McCulloch) – A severely burned pyrokinetic pyromaniac prisoner. His burns come from a fire caused by his father, a drunk, dropping a cigarette in a movie theater. Ash's personality is almost childlike.
Fatty (Stephen Warbrick) – A bald, middle-aged, overweight inmate with a high-pitched voice and giggly/creepy personality, with an affinity for trying to show off his genitals, usually towards Gary. It is revealed in the episode "Superjail Grand Prix" that Fatty is a pedophile. Fatty is often killed during the murder scene or at some point in any episode he appears in, only to be inexplicably revived for the next episode.
Lord Stingray (Eric Bauza) – A stereotypical supervillain character, akin to Cobra Commander, and main antagonist of the show. After being defeated by his army-themed enemies, he crash-landed on Superjail Island and tried to take it over, but ended up being imprisoned. He has been a thorn in the Warden's side ever since by trying to either escape or take over Superjail.
The Mistress (Sally Donovan) – The female warden of Ultra-Prison (a women's prison). She had a brief one-night stand with the Warden while under the effects of Spanish Fly. The season 2 finale, she takes control of Superjail and engaged in a relationship with Lord Stingray in the season 3 episode, "Stingstress". But after a make out with Alice, the Mistress returns Superjail to the Warden while she begins a new life-style as a hippie.
Episodes[edit]
Main article: List of Superjail! episodes
DVD releases[edit]

DVD name
Release date
Ep #
Features
Season One [11] February 23, 2010 11 All episodes in Season One, the music video "Comin' Home", the animatics for episodes 1,9,10, and the pilot. All featured in 2.0 Stereo and closed captioning. Dialogue remains censored in the feature episodes despite the label on the DVD stating otherwise.
Season Two [12] March 13, 2012 10 Episode commentary for episodes 1, 3, 4, 5, 6, 8, 9, and 10, Cheeseburger concert footage, Cheeseburger animated music video, interview with Christy Karacas and Joe Bradley, script to film comparison of episode 10, animation tests, animatics for episodes 1, 4, 6, 8, 9, and 10, "Introstring" of the episode openings. Dialogue and footage are uncensored.
Season Three [13] July 23, 2013 10 Animatics for episodes 1 and 7, animation tests of episodes 6 and 10, "Introstring" featurette. Dialogue and footage remain censored despite the DVD label stating otherwise.
References[edit]
1.^ Jump up to: a b c Gough, Paul J. "Three Series Take Dip in Adult Swim." The Hollywood Reporter. April 27, 2007.. Retrieved 01 January 2009.
2.Jump up ^ Dodero, Camille. "Les Savy Fav's Tim Harrington Was on Super Jail Last Night." Sound of the City Blog. Village Voice. November 24, 2008.. Retrieved 01 January 2009.
3.Jump up ^ Wain, David (2013-04-27). "Twitter / davidwain". Twitter. Retrieved 2013-05-02.
4.Jump up ^ Lloyd, Robert (September 27, 2008). "Animation for adult eyes only". The Los Angeles Times. pp. E–15. Retrieved 2009-05-21.
5.Jump up ^ Reynolds, Mike (April 26, 2007). "Adult Swim to Test Friday Waters". Multichannel News. Retrieved 2009-05-21.009.
6.Jump up ^ Going Back to 'Superjail!'
7.Jump up ^ Minovitz, Ethan (May 25, 2012). "AS Announces Largest Programming Schedule Ever". Big Cartoon News. Retrieved May 25, 2012.
8.^ Jump up to: a b "Superjail Super Interview". 2011-03-24. Retrieved 2008-10-16.
9.Jump up ^ "Adult Swim Announces 2007 Programming Slate at New York Upfront". 2008-04-26. Retrieved 2008-10-16.
10.^ Jump up to: a b Colfax, Ty (2009-02-27). "'Superjail' Creators". Attack of the Show. G4 TV. Retrieved 3.2.2009.
11.Jump up ^ "Superjail Season One DVD release". November 5, 2009.
12.Jump up ^ "Superjail Season 2 DVD Release Date and Cover Art". November 17, 2011.
13.Jump up ^ "Superjail Season Three DVD and Cover Art". April 3, 2013.
External links[edit]
Superjail! at Adult Swim
Superjail! at the Internet Movie Database
Superjail! at the Big Cartoon DataBase
Superjail! at TV.com
Superjail! Augenblick Studios
Christy Karacas Exclusive Interview at Staytoonedin
The Swimcast – interview with Christy Karacas and Stephen Warbrick, November 29, 2012

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Josh (2000 film)

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Josh
Josh2000.jpg
Movie poster
 
Directed by
Mansoor Khan
Produced by
Ganesh Jain,
 Ratan Jain,
Balwant Singh
Written by
Mansoor Khan
Starring
Shahrukh Khan
Aishwarya Rai
Chandrachur Singh
Music by
Anu Malik
Cinematography
K. V. Anand
Editing by
K Dilip
Distributed by
United Seven Creations
Release date(s)
June 9, 2000
Language
Hindi
Budget
INR 17 crore
Box office
INR 33 crore [1]
Josh (Devanagari: जोश, translation: "Frenzy") is a 2000 Bollywood action crime film directed by Mansoor Khan. The film stars Shahrukh Khan and Aishwarya Rai in the lead roles, along with Chandrachur Singh, Sharad Kapoor, Priya Gill and Vivek Vaswani in supporting roles. The film released on 9 June 2000, and became the fourth highest-grossing film in India in 2000.[2]

Contents
  [hide] 1 Plot
2 Cast
3 Production
4 Music
5 Reception
6 References
7 External links
Plot[edit]
The film starts in a coastal state of Goa, a strange noble town called Vasco, named after Alberto Vasco, the richest man who used to live in Vasco in 1958 but has now died. The film then drops to Vasco, Goa, 1980, where there are two gangs who rule. Gang no. 1 called the Bichoos (Hindi: Scorpions), who are Hindus, while Gang no. 2 is called Eagles, who are Christians. The plot bears uncanny resemblance to West Side Story.
The Bichoo gang's leader is Prakash (Sharad Kapoor), while the Eagles are led by Max (Shah Rukh Khan). They are all enemies, they fight, run, chase, and beat. But they are usually stopped from fights by Father Jacob, or the Town Inspector (Sharat Saxena). One day Prakash's brother Rahul (Chandrachur Singh) comes to visit after 2 years, who is a master-chef working in Mumbai. Rahul loves Goa the more he sees of it, and as he tours around Vasco, he meets Shirley (Aishwarya Rai), the twin sister of Max and he falls in love with her straightaway.
Knowing about Eagles and Bicchhoo rivalry, Rahul keeps his mouth closed. He opens a pastry shop 'Treat House' and settles in Vasco. Meanwhile, he becomes part of the Eagles-Bichchoo rivalry, and gets closer to Shirley. The whole situation is unprecedented in this city, which gets all the more intriguing when Rahul comes across a secret about Max and Shirley's past; a secret that will change their lives forever, and that, which leads to a death. He comes to know that Max and Shirley were actually the illegitimate children of Alberto Vasco, the founder of the town. Rahul wants to reveal this to Shirley in a letter but due to circumstances it falls in the hands of Prakash. Prakash plans to murder Max, to get his father's lands worth Rupees 20 lacks [20 thousands]. This leads to fight sequence between both, where Max accidentally shoots Prakash while defending himself. Max is arrested and his trial puts a rift between Shirley and Rahul. Max is about to go to the gallows, but the truth is finally revealed by Rahul and he acknowledges his brother's mistake.
The story ends with a happy note while Rahul and Shirley are married, Max too marries his love interest Roseanne (Priya Gill).
Cast[edit]

Actor/Actress
Role
Shahrukh Khan Max Dias
Aishwarya Rai Shirley Dias
Chandrachur Singh Rahul Sharma
Sharad Kapoor Prakash Sharma
Priya Gill Rosanne
Vivek Vaswani Savio
Sharat Saxena Inspector
Puneet Vashist Michael
Sushant Singh Ghotya
Nadira Mrs. Louise
Suhas Joshi Rahul's mother
Production[edit]
Salman Khan was the original choice for the role of Max. However, Salman declined the offer of acting as a brother to Aishwarya Rai. Later it became known that they were romantically involved in real life. On asking Salman why he turned down the role, he jokingly said "Usko meri behan mat bano yaar" (Don't make her my sister, buddy) referring to Aishwarya Rai. Shahrukh Khan replaced him.[3]
Aamir Khan was offered the role of Prakash but declined, saying he felt the role was too small compared to the role of Max. [4]
Music[edit]
A. R. Rahman was signed in as the music director first, but he opted out, due to time constraints and other commitments.[5] After Rahman opted out, Mansoor Khan roped in Anu Malik to complete the music fast, and release the film on time.

#
Title
Singer(s)
Length
1 Apun Bola Hema Sardesai, Shahrukh Khan 04:25
2 Hai Mera Dil Udit Narayan, Alka Yagnik 04:08
3 Hum To Dil Se Haare Udit Narayan, Alka Yagnik 05:06
4 Mere Khayalon Ki Malika Abhijeet 04:50
5 Zinda Hain Hum To Abhijeet Bhattacharya, Jolly Mukherjee, Hema Sardesai 04:44
6 Sailaru Sailare Mano, Suresh Peters 05:25
7 Hai Mera Dil (Instrumental)  04:08
8 Hum To Dil Se Haare (Instrumental)  05:07
Reception[edit]
The PlanetBollywood gave the film 7.5/10 and wrote "Mansoor succeeds as a director in keeping the movie fast and interesting, though it is the characters who come out much stronger than the movie".[6] Taran Adarsh from Bollywood Hungama noted "On the whole, JOSH is a well made film with great performances and a hit musical score. But the Goan ambience will restrict its prospects in some states due to lack of identification. Also, an average second half and a weak climax are major limitations".[7] Upon release, the film tasted the success at the box office collecting INR 33,00,00,000[2]
References[edit]
1.Jump up ^ http://www.boxofficeindia.com/showProd.php?itemCat=206&catName=MjAwMA
2.^ Jump up to: a b "Box Office 2000". BoxOfficeIndia.Com. Retrieved 10 January 2007.
3.Jump up ^ http://www.imdb.com/title/tt0151150/trivia?ref_=tt_trv_trv
4.Jump up ^ http://www.imdb.com/title/tt0151150/trivia?ref_=tt_trv_trv
5.Jump up ^ http://gopalhome.tripod.com/arrbio.html#1997
6.Jump up ^ "Film Reviews". PlanetBollywood. Retrieved June 9, 2000.
7.Jump up ^ "Movie Reviews". Bollywood Hungama. Retrieved June 9, 2000.
External links[edit]
Josh at the Internet Movie Database
 

Categories: Hindi-language films

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Play It Again

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Play It Again

Genre
Reality TV
Created by
Diverse Production
Starring
Jo Brand
Frank Skinner
Aled Jones
Robert Winston
Diane Abbott
Bill Oddie
Narrated by
Tamsin Greig
Country of origin
United Kingdom
Original language(s)
English
No. of episodes
6
Production

Running time
60 mins
Broadcast

Original channel
BBC 1
Original airing
25 March 2007
External links
Website
Play It Again is a documentary television series on BBC One, featuring celebrities trying to learn to play musical instruments. The series is produced Diverse Production and started on 25 March 2007 and is narrated by Tamsin Greig.

Contents
  [hide] 1 Episodes 1.1 1: Jo Brand, playing the organ.
1.2 2: Frank Skinner, playing the banjo.
1.3 3: Aled Jones, playing the drums.
1.4 4: Robert Winston, playing the saxophone
1.5 5: Diane Abbott, playing the piano.
1.6 6: Bill Oddie, playing the electric guitar.
2 Events
3 Book
4 External links
Episodes[edit]
1: Jo Brand, playing the organ.[edit]
Jo progresses in a series of steps starting with playing a piece for a church service, then she plays the Mighty Wurlitzer Organ the magnificent Blackpool Tower Ballroom, guided by resident organist, Phil Kelsall ("From Russia with Love") where she does not perform well, She also accompanies the "Ave Maria" for a wedding service before her ultimate challenge, which was to play Bach's "Toccata" in D minor in front of 8,000 people at the Royal Albert Hall. After a faltering start she managed to finish the piece with no further mistakes. Jo was given a tutor for regular lessons and also met up with Jools Holland for some tips on the Hammond organ. She began by thinking that she could practise in between all of her other commitments, but soon found that she had to devote much more time to rehearsing than she had expected.
2: Frank Skinner, playing the banjo.[edit]
Frank began with tutor, Pete Stanley, he learned enough to play along with a Birmingham based banjo group and to entertain some brummie pensioners although more with his wit than playing skills. He also took his banjo to the World Cup in Germany where he used it for one of his podcasts and also busked in Munich. Frank also joined Hayseed Dixie on stage at one of their gigs and played "Dueling Banjos" with them with modest success. He could not get along with his tutor and stopped seeing him before his final challenge, which was to enter a bluegrass competition in America. He met John Dowling, a previous winner of that competition, who took over teaching him. His entry was marred by nerves and he performed below expectations at the vital moment.
3: Aled Jones, playing the drums.[edit]
Aled began with tutor Erik Stams an American drum teacher at Drumtech college in West London. Aled played Are You Gonna Go My Way by Lenny Kravitz as his exam piece before his first really hard test. Erik is a big fan of Led Zeppelin and so a Led Zeppelin tribute band was sought to provide Aled with his next challenge. Aled met up with Led Zep Too and got a masterclass in John Bonham style drumming from their drummer. He undertook to learn "Rock and Roll" and "Whole Lotta Love" however the latter was soon dropped as it was too hard. After only two proper rehearsals with the band he was introduced to a rowdy but appreciative audience in a music pub in Camden. He played slowly but well and the audience were won over by the fact that he could play at all. He was then being lined up to play with a major rock act for his final test but instead, after missing several lessons, he himself arranged to play with Chris de Burgh. Although this finale was in front of fifteen thousand people it was much less physically or technically demanding than his earlier performance and he managed to pull it off to everyone's satisfaction.
4: Robert Winston, playing the saxophone[edit]
5: Diane Abbott, playing the piano.[edit]
6: Bill Oddie, playing the electric guitar.[edit]
Oddie attempts to realise his dream of becoming a rock guitarist. Initially teacher Bridget Mermikides tries to teach him using traditional methods but he rebels: instead he turns to old friends Albert Lee, Dave Davies and Mark Knopfler for advice and strikes out on his own. He succeeds in the target of playing lead guitar for his daughter Rosie's band at her 21st birthday party, and even manages to impress his erstwhile teacher.
Events[edit]
Play It Again is also trying to get people interested in playing music. The BBC have organised several free events, between 21 April and 15 July 2007 around the UK. These events, directed by British composer Tim Steiner are open to any one and offer participants the chance to perform with one of the BBC orchestras and BBC Singers.
Members of the public can sign-up to play an instrument or, if not playing, to sing or to play a percussion instrument.
Each event lasts for a morning or afternoon and is based on an arrangement of Leonard Bernstein's West Side Story, specifically the number "Tonight" which is appropriately titled 'Not Tonight'. The musical score for 'Not Tonight' is split into 4 lines for each instrument part. These range in difficulty from 1 - easiest to 4 - hardest. The arrangement is deliberately aimed at being inclusive to accommodate a wide range of musical expertise from complete beginner so all of the public can take part. Each of the musical parts has a least one BBC Friend from the orchestra to help and guide their guests from the public.
In the first part of the event the public performers are treated to a mini-concert performance by the BBC Orchestra and Tim Steiner then uses the orchestra to illustrate the musical themes and the roles played by sections of the orchestra. At the end of the first section the public are split into their specific groups based on instrument, these being instrumental; saxophone; singer; percussion; others (generally guitar-like including electric, acoustic, classical but also anything of a similar family such as banjo, mandela etc.)
In the second part of the event the individual sections are rehearsed separately. Those classified as 'instrumental' rehearse with the BBC Orchestra. Lines 1 to 4 are rehearsed together with some improvisation at times. All of it is done with much humour on the part of Tim Steiner and everyone involved.
There is then a break for refreshments at which everyone gets the chance to compare notes with other members of the public and to find out about the instruments being brought in and the varying musical experience of others.
In the final part all the individually rehearsed sections of the super orchestra (which might be almost 300-strong with the 70-strong BBC orchestra) are brought together and rehearsed as a group. This culminates in a short public performance of the Not Tonight number.
The format of the individual parts of an event can be heard in the HUMS Aloud podcast under External Links
Book[edit]
A book accompanying the series was released on 7 March 2007, by Chris Horrie.
External links[edit]
Official BBC website.
Play it Again on Diverse
Audio diary of Watford event (25 May 2007) on 'HUMS Aloud' podcast
Tim Steiner's website
 

Categories: BBC television documentaries
British music television programmes



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Roses (Outkast song)

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"Roses"
 
Single by OutKast

from the album Speakerboxxx/The Love Below

Released
May 25, 2004
Format
CD single
Genre
R&B, soul, hip hop
Length
6:09
Writer(s)
André 3000, Big Boi, Matt Boykin
Producer
André 3000, Dojo5
Certification
Platinum (ARIA)[1]
 Platinum (RIAA)
OutKast singles chronology

"The Way You Move"
 (2004) "Roses"
 (2004) "Ghetto Musick"/"Prototype"
 (2004)
 
"Roses" is a track by OutKast from their 2003 double album Speakerboxxx/The Love Below. It appears on André 3000's The Love Below disc, and is the only track on his disc to feature Big Boi. The track was largely popular in the United Kingdom and United States where it peaked at #4 on the UK Singles Chart and #9 on the Billboard Hot 100. It also had large popularity in Australia, reaching #2 on the Australian Singles Chart.

Contents
  [hide] 1 Music video
2 Track listings
3 Charts
4 References
5 External links
Music video[edit]
The video heavily references the stage musical West Side Story and features cameo appearances from Paula Abdul, Lukas Haas, Kevin McDonald, Fonzworth Bentley, members of the Dungeon Family, Katt Williams, Faizon Love, and DeRay Davis.
An unknown person is flipping through a Stankonia yearbook and comes on the photo of Caroline Jones (played by April Clark), "Biggest Flirt". After Caroline leaves the bathroom with her girls, Big Boi is shown with his crew. He opens a response to the note he gave to Caroline, asking if she'd be his valentine. Rather than checking off the Yes or No boxes Big Boi put on the paper, she adds her own 'Maybe' option. Upset, Big Boi calls his crew to ride with him to the school.
André 3000 is shown to be heading a musical on stage, where he sings the song and parodies Caroline, though Caroline herself is oblivious to the parody. During this time, Big Boi’s crew, Speakerboxxx, drives to the school, performing acts of vandalism such as knocking mailboxes off. When Big Boi crashes the auditorium where the play is being held, Speakerboxxx announces their arrival, which is followed by the men on the stage announcing themselves as The Love Below.
Despite the pleas of the principal for no fighting, the two groups confront each other in the middle of the auditorium and start a large fight. Most of the students wind up in the fight, including the principal himself (played by Kevin McDonald). Big Boi moves away from the fight and directs his rap to an uncaring Caroline. In the end, an effeminate man (played by Katt Williams) hands Caroline a red rose and says, "Alright, now you be here with the Speakerboxes and the Love Ahead, or you can get with the Katt and some bread. Huh, what do you think? Shall we go? Moving..." As they leave together, he tells her to "take one final look at the past" as they pause, take a look at the chaos behind them, and depart. André 3000 himself is carried off, and the scene goes back to the yearbook, where the reader (presumably director, Bryan Barber) falls asleep after getting to "The End".
Track listings[edit]
UK CD11."Roses" (album version) – 6:09
2."Church" – 3:09
UK CD21."Roses" (radio edit) – 4:14
2."Roses" (album version) – 6:09
3."Roses" (instrumental) – 4:43
4."Roses" (video) – 4:14
UK 12" limited edition picture disc1."Roses" (album version) – 6:09
2."Church" – 3:09
USA 12" vinyl single1."Roses" (radio edit) – 4:14
2."Roses" (album version) – 6:09
3."Roses" (instrumental) – 4:43
4."Roses" (club mix) – 6:14
5."Roses" (a cappella) – 5:25
Charts[edit]

Chart (2004)[2][3]
Peak
 position

Argentina (Argentina Top 20) 14
Australia (ARIA)[4] 2
Austria (Ö3 Austria Top 40)[5] 18
Belgium (Ultratop 50 Flanders)[6] 47
Belgium (Ultratip Wallonia)[7] 10
Denmark (Tracklisten)[8] 15
Europe (Official Top 100 Singles) 15
Germany (Media Control AG)[9] 21
Ireland (IRMA) 6
Netherlands (Dutch Top 40)[10] 22
New Zealand (Recorded Music NZ)[11] 5
Norway (VG-lista)[12] 9
Switzerland (Schweizer Hitparade)[13] 65
UK Singles (Official Charts Company) 4
U.S. Billboard Hot 100 9
U.S. Billboard Hot R&B/Hip-Hop Singles & Tracks 12
U.S. Billboard Hot Rap Tracks 5
U.S. Billboard Rhythmic Top 40 7
U.S. Billboard Top 40 Mainstream 4
U.S. Billboard Top 40 Tracks 7

References[edit]
1.Jump up ^ "ARIA Charts - Accreditations - 2004 Singles". Australian Recording Industry Association. Retrieved June 7, 2007.
2.Jump up ^ "Outkast - Roses: Charts". Music Square. Retrieved June 7, 2007.
3.Jump up ^ "Speakerboxxx/The Love Below > Charts & Awards > Billboard Singles". Allmusic. Retrieved June 7, 2007.
4.Jump up ^ "Australian-charts.com – OUTKAST – Roses". ARIA Top 50 Singles.
5.Jump up ^ "OUTKAST – Roses – Austriancharts.at" (in German). Ö3 Austria Top 40.
6.Jump up ^ "Ultratop.be – OUTKAST – Roses" (in Dutch). Ultratop 50.
7.Jump up ^ "Ultratop.be – OUTKAST – Roses" (in French).
8.Jump up ^ "Danishcharts.com – OUTKAST – Roses". Tracklisten.
9.Jump up ^ "Die ganze Musik im Internet: Charts, News, Neuerscheinungen, Tickets, Genres, Genresuche, Genrelexikon, Künstler-Suche, Musik-Suche, Track-Suche, Ticket-Suche – musicline.de" (in German). Media Control Charts. PhonoNet GmbH.
10.Jump up ^ "Nederlandse Top 40 – OUTKAST search results" (in Dutch) Dutch Top 40.
11.Jump up ^ "Charts.org.nz – OUTKAST – Roses". Top 40 Singles.
12.Jump up ^ "Norwegiancharts.com – OUTKAST – Roses". VG-lista.
13.Jump up ^ "OUTKAST – Roses – swisscharts.com". Swiss Singles Chart.
External links[edit]
Full lyrics of this song at MetroLyrics

[hide]
­v·
 ­t·
 ­e
 
OutKast

 
­André 3000·
 ­Big Boi
 
 
Studio albums
­Southernplayalisticadillacmuzik (1994)·
 ­ATLiens (1996)·
 ­Aquemini (1998)·
 ­Stankonia (2000)·
 ­Speakerboxxx/The Love Below (2003)·
 ­Idlewild (2006)
 
 
Other albums
­Big Boi and Dre Present... OutKast (2001)·
 ­Sir Lucious Left Foot: The Son of Chico Dusty (2010)·
 ­Vicious Lies and Dangerous Rumors (2012)
 
 
Singles
­"Player's Ball"·
 ­"Southernplayalisticadillacmuzik"·
 ­"Git Up, Git Out"·
 ­"Elevators (Me & You)"·
 ­"ATLiens"·
 ­"Jazzy Belle"·
 ­"Rosa Parks"·
 ­"Skew It on the Bar-B"·
 ­"Da Art of Storytellin' (Pt. 1)"·
 ­"B.O.B."·
 ­"Ms. Jackson"·
 ­"So Fresh, So Clean"·
 ­"The Whole World"·
 ­"Land of a Million Drums"·
 ­"Hey Ya!"·
 ­"The Way You Move"·
 ­"Roses"·
 ­"Ghetto Musick / Prototype"·
 ­"Mighty O"·
 ­"Morris Brown"·
 ­"Idlewild Blue (Don'tchu Worry 'Bout Me)"·
 ­"Hollywood Divorce"·
 ­"The Train"
 
 
Featured singles
­"Gone Be Fine"·
 ­"International Players Anthem (I Choose You)"
 
 
Related articles
­Discography·
 ­Organized Noize·
 ­Dungeon Family·
 ­Mr. DJ·
 ­The Skinny·
 ­Idlewild·
 ­Bryan Barber
 

 

Categories: 2004 singles
Music videos directed by Bryan Barber
Outkast songs
English-language songs
Singles certified gold by the Recording Industry Association of America
Songs written by André 3000







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China Girl (1987 film)

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China Girl
China girl poster.jpg
Theatrical release poster
 
Directed by
Abel Ferrara
Produced by
Michael Nozik
Written by
Nicholas St. John
Starring
James Russo
 Richard Panebianco
 Sari Chang
David Caruso
Russell Wong
Music by
Joe Delia
Cinematography
Bojan Bazelli
Editing by
Anthony Redman
Distributed by
Vestron Pictures
Release date(s)
September 25, 1987
Running time
89 min
Country
 United States
Language
English
Box office
$1,262,091[1]
China Girl is a 1987 film directed by independent filmmaker Abel Ferrara, and written by his longtime partner Nicholas St. John.

Contents
  [hide] 1 Story
2 Release
3 Cast
4 References
5 External links
Story[edit]
China Girl is a modern take on the classic tale of Romeo and Juliet. Set in 1980s Manhattan, the plot revolves around the intimate relationship developing between Tony, a teenage boy from Little Italy, and Tye, a teenage girl from Chinatown, while both of their older brothers become engrossed in a heated gang war against each other. The movie has some similarities with the musical "West Side Story."
Release[edit]
The film was released theatrically on September 25, 1987 in 193 theaters and grossed $531,362 its opening weekend. the film grossed a domestic total of $1,262,091 and its widest release was to 193 theaters. After its theatrical run, the film was released on videocassette by Vestron Video. The film is available on region 2 DVD but has never been released on region 1 and as of January 17, 2010, Lions Gate has yet to announce any plans for a DVD release.
Cast[edit]
Richard Panebianco as Tony
Sari Chang as Tye
James Russo as Alby
Russell Wong as Yung Gan
David Caruso as Mercury
Joey Chin as Tsu Shin
Judith Malina as Mrs. Monte
James Hong as Gung Tu
Robert Miano as Enrico Perito
Paul Hipp as Nino
Doreen Chan as Gau Shing
Randy Sabusawa as Ma Fan
Keenan Leung as Ying Tz
Lum Chang Pan as Da Shan
Sammy Lee as Mohawk
References[edit]
1.Jump up ^ http://boxofficemojo.com/movies/?id=chinagirl.htm
External links[edit]
China Girl at the Internet Movie Database
China Girl at AllRovi
China Girl at Rotten Tomatoes

[hide]
v·
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 e
 
Films directed by Abel Ferrara

 
1970s
9 Lives of a Wet Pussy (1976)·
 The Driller Killer (1979)
 
 
1980s
Ms. 45 (1981)·
 Fear City (1984)·
 China Girl (1987)·
 The Gladiator (1987)·
 Cat Chaser (1989)
 
 
1990s
King of New York (1990)·
 Bad Lieutenant (1992)·
 Body Snatchers (1993)·
 Dangerous Game (1993)·
 The Addiction (1995)·
 The Funeral (1996)·
 The Blackout (1997)·
 New Rose Hotel (1998)
 
 
2000s
'R Xmas (2001)·
 Mary (2005)·
 Go Go Tales (2007)·
 Chelsea on the Rocks (2008)·
 Napoli, Napoli, Napoli (2009)
 
 
2010s
4:44 Last Day on Earth (2011)
 
 


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Categories: 1987 films
1980s crime drama films
1980s romance films
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American romantic drama films
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Films directed by Abel Ferrara
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Vestron Pictures films
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Wild Side Story

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[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page.


 This article needs additional citations for verification.  (November 2008) 

 This article contains wording that promotes the subject in a subjective manner without imparting real information.  (November 2008) 

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Wild Side Story
Wild Side Story 2001 Logo.jpg
Logo for 2001 Stockholm run with silhouette from 1973 and drawing from 1976
 
Wild Side Story is a stage show[1] that originated as an underground happening in Miami Beach, Florida in 1973. From that year until the end of production in 2004, it was performed hundreds of times in Florida, Sweden,[2] California[3] and Spain.[4]

Contents
  [hide] 1 Origins, style and technique
2 Looking for a story line
3 Settings and venues 3.1 Florida run and tours 1973–1975
3.2 First Stockholm production 1976
3.3 California performances 1977–1980
3.4 Stockholm revival 1997–1999
3.5 Spain tour and television 2000
3.6 Additional showings 2002–2004 and later
4 References
Origins, style and technique[edit]
This cult stage show was first conceived and created in Miami Beach in 1972 by director Lars Jacob for an underground cast of nine poorly paid performers who were in it for the kicks, using stage names such as Rena Del Rio, Peaches Del Monte, Chiena Chinette, Jessica Kilo, Tom Flavio, Crystal Beed and Aretha Filthy so as not to disclose their actual identities. Most were young Cuban refugees.[2] One exception was Roxanne Russell who eventually achieved national notoriety and began to use his real name Logan Carter.[5][6]

 

 Late night snapshot of Del Rio, Carter, Del Monte with Tony Del Valle, Tampa, April 27, 1974.
The piece was originally called West Side Tuna because of their preceding highly charismatic, but theatrically needy production, The Hot Tuna Revue, in which, as Del Rio later admitted, "We were just giving faces".[this quote needs a citation]
It opened officially as Wild Side Story on August 8, 1973.[citation needed]

 

 Original cast at Ambassador III in 1973
Moved two blocks up 22nd Street the following month by club owner Larry Boxx,[7][citation needed] from the shady old Ambassador III lounge to his brand new Stonewall disco, Wild Side Story reopened there on September 3, 1973, closer to a popular public beach. It now established itself as albeit bizarre but exciting after-midnight entertainment for more diverse crowds. Many were young tourists who would not have planned to go to a gay bar and now saw transvestite characters on stage (and some in the room) for the very first time. The move also brought a revamp of the cast of characters, partly and loosely built on those of West Side Story, with Jacob henceforth casting real girls in leading parts "Anita" and "Betty-Sue". One supporting part continued to call for a female to play a meretricious male gang member called "Macho", which was a first even in cosmopolitan South Florida.[citation needed]
Boxx called Wild Side Story “a fantastic attempt at true camp the way it should be done, and you can quote me on that”.[8][this quote needs a citation]
Though the hour-long show continued to be performed with the cast lip-synching to pre-recorded songs, about half of them from several versions of the Broadway classic, it evolved into something more difficult to classify than a conventional drag show. Character caricatures developed. Lip and tongue motion was intentionally exaggerated to spoof the mouthing method, and a number of live spices, such as America clapping and foot drumming and Rumble screams, were added. When an audience had resolved itself to sit through what looked to many like a sort of pantomime play, "Tony" suddenly sang a special lyric into a live microphone, this confusing even him, even more, after having flipped too indiscriminately over a mysterious “Maria” (see below). Slide shows and 8mm film segments were included. Show-goers were taken by surprise with a takeoff on technical failure where one of the actresses would stomp her foot and begin swearing out loud till her number just as unexpectedly resumed. The long street fight where first "Bernardo" then "Betty-Sue" are fatally stabbed, she with her own knife dug out of the deep of her big gold purse, was done here in slow motion and strobe lighting, an effect staged after 1973 by the directors of a number of other productions.[citation needed]
Looking for a story line[edit]

 

 An "Anita" not to be messed with, Nina Gomez at Camarillo, Stockholm, 1997.
The Wild Side Story plot, later in Europe purported to be “from the wildest side of the trans-Atlantic West”, is mainly about “Bernardo” being visited by problematic little brother, José “Maria” Gonzalez, who cross-dresses convincingly to go job-hunting. With boyfriend-owner “Betty-Sue” busy smoking cigarettes, “Tony” can go gaga over “Maria” and does so without taking a second or even a careful look. A lovesick calamity of abandon unfolds amid pick-pockets, male and female chauvinist pigs, false eyelashes, murder, initially misplaced false boobs, and all is summed up with what amounts to a hippie hypocrisy revival meeting at the end (see below).
“Anita” is portrayed as an extremely dangerous and powerful woman so nobody dares tell her that the reds in her satin skirt and ruffled top clash monstrously. Since she won’t let any real women get close to her man, her girlfriends are two tall, muscular drag queens with hairy armpits, whose motivations for cross-dressing remain unclear (one of them was actually portrayed two times by a recent bank robber, unknown as such to the production). The names of this pair are “Consuelo” and “Obvióla”. They have been reviewed as the "riot act of the show".[9] Each in a stolen nuns' habit, they complain about new competitor “Maria” in a Sound of Music song.

 

 In July 2003, plot essential moments were defined most skillfully by Patrik Hont and Henrik Bergström at the Wild Side in Stockholm.
Throughout the story Mae West movie quips, done by all cast members in turn, interrupt the action (with a Laugh-In-type point spotlight) and her version of the song All of Me is also included as a solo for “Consuelo”. Early on, “Betty-Sue” is spied on, in her big number Leader of the Pack (Bette Midler), by the two mischievous queens, and later she gets soused to You Don’t Know what Love Is (Patti Page) before having the traumatic experiences of (1) that technical breakdown and (2) getting slain with that knife.
Songs by La Lupe (Fever with “Obvióla”), Elvis Presley (Trouble with “Bernardo”), Marilyn Monroe (Diamonds... with the girls), of course Lou Reed (Walk on the Wild Side with “Macho”, “Chino” and “Tony”) and Peggy Lee (Is That All There Is? with “Anita”) round out the material performed, aside from a seductive “Maria” having duped “Tony” with The Birds and the Bees (Alma Cogan) and Think about It (Lyn Collins).
Sondheim lyrics are re-performed with new meaning when “Maria” feels “pretty and witty and gay” and “hardly can believe I’m real” or an infuriated “Anita” (in a Carol Burnett version) shouts “stick to your own kind!” at her. A meticulously directed reinterpretation of the enchanting Tonight song has “Tony” torn tensely between self-destructive love pangs and ensuing anatomical suspicion, while “Maria” to the audience begins to regret causing so much trouble, just to find employment, and embarks on an exit strategy while fearfully trying to keep “Tony” from screwing it up. When done right, the number has been correctly perceived (for all the comedy in his manuscript) as the climax of a permeating and grave undercurrent of dislike on the part of director Lars Jacob toward a suicidal syndrome in entertainment launched by Romeo and Juliet.
“Obvióla”, decked out like the Queen of the Universe, makes a dramatic physical pass at “Maria” who then finally strips off the girl guise and goes back to being “José Maria”, Shirley Bassey providing the lyric with the drag classic This Is My Life. It is performed here, however, with such increasingly convincing masculinity that the singer’s famous female voice becomes secondary to what the dramatic character is doing. The starring actor then closes his challenging trisexual role with a bit of brother “Bernardo’s” Presley number (as named above) and dons a sequin top hat over jeans and a Puerto Rico t-shirt seen in the Prologue slide show.
One of three to five successive Finale numbers (depending on how you count them) has aspiring soul goddess “Consuelo” in the highest possible beehive hairdo waking all the dead to devise a happy ending. This is done, in what could be considered questionable taste, to a very rousing version of Somewhere from the early 1970s, a live recording in which Diana Ross and the Supremes invoke “Doctor Martin Luther King...” while making large income performing for gamblers at one of the biggest casinos in Las Vegas.
Settings and venues[edit]
Florida run and tours 1973–1975[edit]

 

 Kilo and Chinette in two of the gym slides from Miami Beach High School, 1974.
The Stonewall of Miami Beach (above) housed Wild Side Story for only one season spanning the winter of 1973–1974. The director had an evening job behind the front desk of the Doral Hotel (Doral-on-the-Ocean) and would hurry down to 22nd Street in time to play “Tony” after midnight.
To take slide pictures for a special introduction to the Dance at the Gym Jacob talked a janitor at Miami Beach High School into admitting the cast to that gymnasium dressed in rented ballet tutus. This took place long enough after regular hours to satisfy the conscientious school employee that no pupils need be unnecessarily alarmed or harmed by these extraordinary personalities flitting about and striking a number of seemingly pertinent poses. Those slides have been used ever since, in every show for 30 years.
Not content to sit on the laurels of a first successful run at a popular club, Jacob planned for his next production to be called 22nd Street, but the Stonewall burned to the ground in the spring of 1974. The disaster allowed for no time to take advantage of major publicity from just a few weeks before. Two cast members had been featured in Miami Magazine’s[10] new cover story by Ella Smilkstein called Bring Back the Girls. Benny Garcia and Tony Del Valle had done themselves up so convincingly and attractively that the staid general-reader publication didn't seem to realize it was using young men as models for an article than began “Believe it or not, there are still some real men around who appreciate real women...”.
Jacob had a limited hiatus in Ft. Lauderdale doing a small part (his restored 1950 Cadillac also had a part) on the set of Dustin Hoffman’s movie Lenny, then went up to see family in St. Petersburg and on to Tampa. There he first met Steve Vigil (a lot more of whom below) while visiting a small disco to book a tour for his Miami Beach troupe.

 

 From underground to mainstream in one lift, Marco Polo Hotel, Miami Beach, 1974.
Getting his unruly cast aboard a cheap Air Florida flight was a major challenge, but the one night booking in Tampa at the Carousel Lounge on April 28, 1974, was one of the show’s biggest hits so far. Roxanne Russell had a concert booked at another club in town and changed the hour so that the two shows wouldn’t compete, leading to a head-of-state level summit of the stars, or so it seemed to some present, afterwards at an all night Denny's.
The owner of competing Rene’s Lounge came and said it was “an unbelievable, fantastic show” and a weighty visiting show director, Miss Pauline of the Palace in Orlando, had “never seen a show of this kind so professional or with so much hard work”.[8]
Back in Miami Beach, in the Persian Room of the Marco Polo Hotel on August 4 a promotional appearance was done by a temporarily enlarged cast which had been signed to provide the entertainment segment in a glamorous pageant called Miss David.
A week later, a quick tour to the mainland took place when the Climax at 12001 N.W. 27th Ave. in Miami hosted Wild Side Story for one special evening, August 11, 1974. That date had several firsts. It was the first time any effort was spent on an organized décor, which consisted of rolls of tin foil, trash cans, big dead plants, coconuts and ostrich plume palm trees. It was the first time the show was photographed professionally, and it was the first time ticket sales generated enough cash that the counting and distribution of it was worth remembering.

 

 Peaches Del Monte braves the Climax décor, Miami, August 11, 1974.
Ten days after the Climax, Jacob flew to Stockholm, Sweden, with a lady friend visiting from there (see below), and took a job on the graveyard shift at the Sheraton Hotel in the Swedish capital. Serious plans developed for a European tour for his Floridian cast, with preliminary agreements done after he visited the (new) Alcazar and Cabaret Sexy in Paris, the Lido and D.O.K. clubs in Amsterdam, Bonaparte in Copenhagen and Alexandra’s leading nightclub in Stockholm. He had a meeting in England with double-gender-act music hall legend Danny La Rue, then appearing at the Prince of Wales Theatre in London, and was encouraged and given the names of contact persons there. It was considered sad after a few months when it turned out that leading cast members wouldn’t be readmitted to the United States if they left there on refugee status. The overseas tour idea had to be scrapped.
For Hallowe’en, terribly bad news arrived in Stockholm from Florida when it was learned that Jessica Kilo had died in a mysterious fire.
In February 1975, the director returned to Florida and arranged a one night Wild Side Story event at a little restaurant, the Dinghy, behind Miami Beach Library (where it was then). Larry Boxx had a new club called the Hayloft at 37th and Bird Road, Miami, where an attempt also was made to start up the show, but the cast had drifted apart and it was no longer possible to get a full ensemble together for such a project. The new opening planned for March 5 had to be cancelled. One special showing was accomplished on March 16 at the popular Keith’s Cruise Room (so it was called) further north in Hallandale, Florida.
Thus the show’s Florida history ended. Jacob stopped briefly in Miami on his way to California the following year and caught an Easter show at Keith’s starring Russell, but that was it. Russell, Del Valle and Ms Filthy later saw him in Los Angeles. Benny Garcia, who went all the way and legally became Jennifer Garcia and then moved all the way out west, eventually joined the Los Angeles cast (see below). Del Rio and Del Monte were still friends with Jacob in 2007, visited in recent years. Practically all the others have died.
First Stockholm production 1976[edit]

 

 LJP publicity shot of Steve Vigil at Alexandra's, Stockholm in 1975.
Already in 1971 Lars Jacob had worked as a substitute DJ for his distant cousin Alexandra Charles (née Gefvert) who since 1968 co-owed and hosted the first “modern” nightclub in the Swedish capital. Her club[11] had a large and influential membership clientele.
When Jacob was in town in 1974 (as noted above) he and Alexandra, both descending from a 16th-century Walloon-Swedish master smith, had hammered out tentative plans to try to move Cuban-American talents across the Atlantic. He had then arrived from Florida traveling with the Stockholm club’s receptionist Jill Wernström, who informed her bosses of her good impression of the Wild Side Story cast she had seen perform at the Marco Polo gala in Miami Beach. She was especially a fan of Benny Garcia.
The table had thus been set for collaboration in 1975. It helped also that Steve Vigil, who after they met had moved from Tampa to Miami Beach and became Jacob’s best friend, knew the show well by now and was his airplane companion to Sweden this time. They had spent some months in New York City before Jacob returned to his night job at the Sheraton-Stockholm, and Vigil came along to Europe for the first time since childhood years in Germany.
Charles and her American business partner Tom Macksey were trying to compete with a popular cabaret in town that was stealing some of their business. Attempts at putting on shows at “Alexandra’s” had not done well, and now she and Macksey enlisted Jacob's help. He wrote a show called Alexandra’s Eccentric Cabaret, AlexCab for short, which opened with good reviews in September, largely due to Jacob’s unusual Swedish lyrics to famous American songs and to the musical genius of band leader Anders Eljas of ABBA notoriety, who debuted here. The cast consisted of several friends of the director’s from the early 70’s – most of them quit the competing show to come to work for him – and of Vigil who was billed for small parts but became an overnight star[12] doing sensational parodies of American drag numbers he had seen in Florida.

 

 Christer Lindarw and Ulla Jones in Leader of the Pack – this and the next two photos are from Alexandra's, Stockholm, in January 1976.
Vigil was first noticed by these audiences in a lengthy silent movie spoof, run as a number in the show to piano music by Eljas. In it he played an Arabian sheikh whose briefcase gets swiped at the Sheraton (which kindly sponsored the film), then the sheikh was noticed sitting up front in the audience, and then Vigil walked out in a noticeable huff as the little screening ended.
When he started doing more, in his own solos, Charles said she had only heard her audience scream for joy like that once before (when Björn Skifs had appeared there with a song he had topping U.S. charts). Photographer Kary H Lasch of world renown, along with other Swedish celebrities, insisted on meeting Vigil as soon as they saw him perform – “how does he do what he does with his lips?”. Lasch did him a special honor in taking free pictures of him as the irate Saudi-Arabian.
Macksey and a business associate David Gilvar predicted that drag, which was virtually unknown there, would become a huge phenomenon in Swedish entertainment. Meanwhile Jacob was getting less happy with his ensemble. He claimed they mostly wanted to act serene and glamorous rather than decadent and wild as agreed and rehearsed, so it didn’t take much to talk him into cutting Alexandra’s expenses by closing AlexCab.
Charles, socially the most powerful person in Sweden, started pulling some strings and by the time the maximally trendy Gul & Blå clothiers had offered her to do up a whole Wild Side Story wardrobe for the publicity, and to sell tickets in their shops, Jacob already had his new cast. He used two AlexCab performers for "Anita" and "Bernardo", a young Ethiopian immigrant as "Macho" and a good-looking blond hotel colleague at the Sheraton for "Chino".

 

 Two rare frames of an 8mm home movie segment run between numbers: Jönsson and Jacob try to help Vigil do a quick change.
Vigil’s willingness and ability to play the difficult starring role was essential to any plans for success, and Maria Knutsson took extra care to try to conceal his muscular biceps and tattoo when creating her namesake's familiar white chiffon dress. Somewhere she also found big enough ladies' platform shoes. There was a place for them.
The show opened on January 5, 1976, after an intense and expensive ad campaign that quoted the anticipatory comments of over 20 famous people. New slides and 8mm film had been taken for the show's interludes and some rerecording done on the soundtrack (the Presley number was added here).
Beautiful model Ulla Jones for “Betty-Sue” was the only cast member of international renown at the time. Though she and Vigil got good personal reviews, this has been her only known acting assignment to date. Finding actors in Sweden at that time to play Puerto-Rican-New-York drag queens was almost impossible. There were no Puerto Ricans, no New Yorkers and no drag queens. Two hairdressers from Björn Axén (who coiffed the Swedish princesses) got in trouble by selling good wigs to the show too cheap. They were given a chance at these parts, but it wasn’t until Jacob’s notoriously witty friend Roger Jönsson brought Christer Lindarw in that those two could be cast as “Consuelo” and “Obvióla”. Both were new to professional stage performance, both immediately impressive, as noted with a colorful expletive by Californian production assistant Rosalie De La Torre.[13]
Mixed reviews of the show itself revealed that the Stockholm press was unable to form any consistent opinion of a piece that was mostly meant as a parody of things that in themselves were unknown there. The daily newspapers were so careful to be non-committal that their approach seemed comical, meting out little doses of praise and alienation in the same articles. One popular magazine went all out to smear the show as roundly as possible, even complaining about Vigil’s "hairy soccer-player legs". Another one called it the “best show in town”[14] and gave Lindarw special mention, with skillful insight of what was to come for him (see below). More celebrities crashed the dressing rooms after curtain fall.

 

 Lindarw as "Obvióla" and Erik Samuelsson as "Chino" eye Vigil tearing his starring role apart and reverting to boy-wear toward show's end
The serious problem was that only three days after the premiere “Bernardo” dropped out, without an understudy, citing a documented back pain. Rumor had it that his mother and he were afraid he might ruin his reputation in such a controversial show. The facts that he had been all right in AlexCab and that he participated months and years later in much worse (if one will), tend to refute this. Lars Jacob had looked forward to just directing the show this time, but had to play “Tony” again when the actor chosen was injured in a sporting accident a few weeks into rehearsals. To keep the run going he now played half of “Bernardo” in the same shows, while an extra marked the part when both characters had to appear on stage simultaneously.
Alexandra’s closed Wild Side Story after four weeks but didn’t want to give up on the concept, so Jacob agreed to direct a little Monday Night Drag Show just with Jönsson and Lindarw and one more new performer. As predicted this was enormously successful and the new trio laid the foundation there and then for over 30 years that were to follow of popular entertainment and fame with their subsequent After Dark group,[15] including royal command performances. It became an honor in Sweden for anyone to have had anything to do with bringing them together.
A one night Wild Side Story for a younger audience was given at the Phonograph disco near Alexandra’s on January 31 and then Vigil, who long had been homesick, went back to the States and settled in California. He was soon joined there by Jacob and their friend Garcia from Miami.
California performances 1977–1980[edit]

 

 Jennifer Garcia and Steve Vigil, already veterans from Florida and Sweden, here at the Plaza in Los Angeles on September 25, 1979.
In March 1976, The Beverly Hills Hotel employed Lars Jacob as a room clerk, enabling him to stay in Los Angeles, where he had arrived from Stockholm and joined Steve Vigil (as above).
Strict rules for employment at The Hotel (as it is generally called in its home town) naturally prevented a conflict of interest where people behind the front desk might have been tempted to promote their own show business agendas with the famous and powerful guests.
Nevertheless by the month of May, the basic plot of Wild Side Story had been registered with the Writers Guild of America West and Jacob and Richard M. Mersky, a hotel colleague, registered a California company called Mimical Productions to put the show on somewhere in the area. Mersky was General Manager and Executive Producer, Jacob Creative Director. It was to be their hobby project in spare time, but soon looked professional enough that auditions could be held at the Beverly Hilton.
These well executed auditions didn’t lead to much, and from now on the director began to cast mostly from disco dance floors; among young people seen working responsibly at fast food restaurants and the like; attending relevant schools and on the street. Over half the cast members in his shows, of those commendable for talent as well as essential reliability, have been found in this way since then.
Filthy, the young woman mentioned above (“Betty-Sue” in Florida), arrived to a hearty welcome, which turned to frustration when Jacob and others felt she disrupted rehearsals and caused tension, preventing her from continuing. It was on a much brighter note that Vigil was eager to play super-tough “Bernardo” this time around, even better than he had done the starring role in Sweden. He stayed with the part throughout all the California shows.
A complete rerecording and technical improvement of the soundtrack was accomplished at Kitchen Sync Studio on Sunset Boulevard after mint condition albums, with most songs, had been found at some of the many fine used record shops in Los Angeles. The material was the same, but a new narration was added, which came in every other number or so to clarify the plot. Only a slightly scratched album could be found with the Page song, so a few talented actresses have later added the scratches to the drunk act with little fingernail pantomime gestures. It turned out that a Cogan record was impossible to find in California, so Jacob asked British hotel guest Adam Faith his opinion on the likelihood of getting it at all. In a very kind gesture Faith had a contact dig her 1960’s tapes out of a vault when he got back to London, made a disc and sent it to Mimical Productions with best wishes.

 

 West at her Hollywood premiere (see below) with longtime boyfriend Paul Novak, costar Alice Cooper and lawyer Harry Weiss, March 2, 1978.
Another potential problem was good advice from initiated experts to clear the use of Mae West's material before doing the show in her own home town, where at the time she was alive and well at 83 – in fact heavily involved in the making of her last movie. The show’s original subtitle from Florida, (Mae?) West Side Story, was changed to A Mimical Lampoon, and a Wild Side Story script was sent to her lawyer Harry E. Weiss. After a few nervous days, the new production was relieved to be granted permission. Relief was also the sentiment, along with heightening excitement, when the whole Stockholm wardrobe arrived safely in boxes by surface mail (i.e. by boat through the Panama Canal) and began to be adjusted for the coming cast. A letter of donation and good luck from Gul & Blå also came in to dispel nasty rumors in Stockholm that Jacob had absconded with it, which had reached ears in California.
As Max von Sydow agreed and expounded on, when Jacob eventually directed him in English and befriended him,[16] some Swedes are not pleased when other Swedes do well abroad. The phenomenon has been known by the entire population as an accepted national trait called the “Royal Swedish Envy” and the “Jante Law” and often joked about gleefully (perhaps too much so). Talented people from Sweden often publicly have to badmouth their own international achievements and especially the places where they achieve them, in order to blend in comfortably when they get home.[17] This seems to be changing with a more internationalized generation, born in the 1990s, beginning to come into its own.
Wild Side Story for California, nonetheless, was organized by September 1977, successfully rehearsed and a trial performance given and photographed at a small bar called Matlos Flama Latina, with a big stage, on Western Avenue just below Hollywood Boulevard. November 30, 1977, marked this first Los Angeles showing. The good-humored young actor cast as “Consuelo” had forgotten to come, so this first show – his last – could only be accomplished after a frantic search using several cars scoured Santa Monica Boulevard bars, managed to find him cheerfully partying and rushed him into heavy makeup. He was replaced by Eddy Hampton Armani, later an unauthorized biographer of Tina Turner, who remained "Consuelo" until 1980 (Eddy, not Tina).

 

Prologue slide: airport-bound gang speeding to pick up "Maria", fall of 1977.
New slides and films were taken all over the area. For a clearer introduction to the story from now on, a series of slides to the first few minutes of music functioned as a Prologue, showing "José Maria" in Puerto Rico (actually Santa Monica), how and where he got the idea to try transvestism, kiss his girlfriend good-bye and arrive in New York. To get “Maria” photos aboard a plane (actually Pacific Southwest Airlines) Jacob and Eddie Valdez bought two tickets to San Diego and then got off with a poor-or-less excuse in the last minute. It brought back memories to the director of the “good old underground days” of Miami Beach.
A complicated and artistic lighting scheme put together in Sweden by Ulf Nilsson was able to be used well when Nilsson himself arrived from Stockholm to take command of it. Even one Alexandra’s disc jockey, who had engineered the sound there, came over and tended the equipment for some of the shows. These blond Nordic assistants were considered a spice on the mainly Mexican-American team. Another blond was the new “Tony”, a struggling young actor from Idaho whose voice was more suited to doing the live song as a monologue, rather than singing it.

 

 Mersky and Mimical Prod. moving in at the Plaza, April, 1979.
Somehow, to keep people involved, Mimical Productions managed to get a considerable number of tickets for the spectacular Cinerama Dome opening of Sextette on March 2, 1978, and took pictures on the red carpet of its own people. Then everyone went inside to watch the controversial picture and see Miss West herself thank the audience from stage for coming to her “little piece of educational entertainment”. Years later, when Jacob read a book on the great diva, he pondered in vain if his group and their relatives were included in the “crowd from Cucamonga” outside the theatre[18] that one Hollywood expert had complained about, not content with only mentioning all the big names in attendance.
After a long period of scouting for a good venue for a Los Angeles run and for the best possible cast to run with it, Wild Side Story was ready to go and was video taped March 25, 1979, at the Plaza neighboring Pinks Hot Dogs and opened there on May 1. The little restaurant had never had a “production show” of this kind before. When after a summer recess it reopened there in the fall (September 25), word of mouth and a few carefully placed invitations began to bear fruit as celebrities like Lehman Engel and Boz Scaggs arrived at the Plaza to see the piece and were seen enjoying it. The place reminded Vigil, Jacob and Jennifer Garcia from Miami (now playing “Anita”) of the original underground atmosphere from five years before. Michael Kearns wrote a very helpful review[19] intelligibly grasping what it was, in some detail, and calling the show “the most unusual thing you’ve ever seen”.
Mae West herself had a reservation for two one evening and a throne chair was installed for her, but her old Cadillac was seen to pull up and leave. Mersky had left a limousine he was driving professionally in the only spot right out front, so there was nowhere acceptable for an 84-year-old Queen of Hollywood to alight from hers.

 

 Ryan, Jacob and Esra in July 1983; she is now (2008) a Philadelphia hotel executive, he a Los Angeles publisher.
A number of successful performances were also given that fall at Osko’s disco, 33 S. La Cienega, where for each event a theatre was created and disassembled in minutes, out of part of the big room, by the use of bales of black material and a staple gun.
Colleen M. Ryan and Ritch M. Esra, two hotel colleagues of Jacob’s, played essential parts behind the scenes as Stage Manager and Assistant Director, vital in keeping the ensemble together and happy for so long despite low income, as usual, from these shows. A canvas tote bag (matching those the cast had), in which Esra kept his tools and accessories, i.e. the Administrative Items, was nicknamed “Minnie” (as opposed to bags “Maria” or “Anita” etc.) and was part of backstage lingo until 2004. Since it quite visibly was a Playgirl promotional item, and was heavy, a number of the gentlemen (?) have tried to avoid carrying it, in and out of storage and back and forth to nightclubs over the years.
The Wild Side Story experience in Los Angeles came to an end when Lars Jacob had to make a choice between careers early in 1980. The Beverly Hills Hotel promoted him to Front Desk Manager and Assistant Manager making it impossible to continue to have such a time-and-effort-consuming hobby. He explained that since the hotel business had been good to him for so many years already, and had financed the fun he and all the others had, that was what he chose.
Stockholm revival 1997–1999[edit]

 

 "Tony" and "Betty-Sue" bring the show back to Stockholm with Something's Coming on Easter Eve, 1997, foreboding seven more years of new performances in the city.
An ambitious Mae West Centenary celebration was the first step toward bringing Wild Side Story back in Sweden in 1997. Director Lars Jacob had returned to Stockholm and wrote a stage show for 28 performers, based on 20 of the humorous songs West had specially made for herself and never let anyone else do, and he got permission from The Roger Richman Agency and a host of publishers to use the material. After a considerable amount of publicity in press,[20] radio and TV, the effort was limited to a formal white tie dinner[21] at Berns honoring West’s memory on the date itself, August 17, 1993. Among those attending the celebrations were Christina Schollin, Camilla Henemark, Johanna Lind, Jan Hilary and Chesty Morgan (band), plus above mentioned Alexandra Charles and Christer Lindarw.
Jacob’s somewhat reluctant re-entry into Swedish entertainment, and an After Dark (see above) twenty-year commemoration early in 1996 once again set the public relations stage. Lindarw was now a very big star in Sweden and curiosity in the media about his debut show enabled casting and production for a new showing of Wild Side Story to begin, without any major change to it from what had closed at the Plaza in 1980. The Knutsson wardrobe was (and is) still intact, continually and religiously mended as exact as possible. New interlude film was taken, and the show's subtitle was adjusted again to A Mimical Humoresque.
A “Tony” considered so good-looking that he was called Magnus the Beautiful even by his high school teachers was discovered working at a local 7-Eleven on the Southern Isle Södermalm. An enthusiastic Swedish soldier temporarily drafted for service in the northern Northlands (Norrland) began studying “Bernardo” between wintry military exercises. Most of the rest of casting was done off the dance floor of a popular salsothèque run by Cuban-Swedes, and it was there at La Isla, underground by a subway station, that the show opened for a successful one-night showing on Easter Eve, March 30, 1997. An independent Lars Jacob Productions thus reinvented itself after 21 years.
Word of mouth reached the ears of Italian-Swedish artist and nightclub owner Lino Ajello. After a preview at his eccentrically decorated Camarillo comedy club in May, he signed up to run Wild Side Story in a dinner theater setting every night, all summer from the 4th of July, when the show opened at his place. It did run for over 60 shows and closed in September, never canceling once, thanks to the contracting this time of understudies and to the fact that Jacob himself was willing to jump in eight times playing everything from “Bernardo” (or his father) to “Obvióla” (¿o su abuelita?).

 

 F.U.S.I.A.'s first Chairman and main benefactor Agnes Källström.
In spite of good performances, excellent press[22] and program folders and posters paid for by Stockholm tourism authorities, the location of the club in a northeastern corner of town, far from most hotels, made it difficult to draw the intended tourist crowd as a mainstay for financial success. A group of regular fans developed in the audience however, and they and others can be heard howling, clapping and enjoying themselves, in sort of a Rocky Horror Picture Show style, in video recordings made of whole shows, twice in July and five times in August.
A number of hotel managers wrote letters of appreciation on behalf of staff members comped in to see the show and later on behalf of guests who praised it to hotel employees. As the only show in English ever to run in Stockholm, Wild Side Story has been appreciated particularly by the city’s international community and tourist trade and has been able to run in the summer, when many other theaters and other entertainment establishments traditionally scale down or even close up for vacations. During this first Camarillo run in 1997, Radio Sweden sent Kathy Riley to review the piece for her program in English[23] and a Swedish radio show also did a segment about it.[24] Riley called Wild Side Story “a hilarious parody, an inspiring show of ingenuity, an alternative hysterical”.
A cast of the show also appeared on television for the first time when Gert Fylking for a local station interviewed Lars Jacob about its origins and features,[25] taped live at a popular waterfront nightclub in the Old Town (more of which below), and the interview was followed by the hippie-hypocrisy-revival closing number noted above under Storyline. “Consuelo’s” central figure (mouthing Diana Ross) was played here and all year by tall and muscular Colombian-Swede Miguel Bonett who later was to become a powerful doorman at Berns and win a world championship at Counter Strike. In 2008 he appeared as a Burger King spokesman in a series of television commercials. Fashion model Jimmie Kersmo, Mr. Sweden of 2004 (Sveriges man) played "Bernardo" once in 1998 and then teamed up with Bonett to do "Obvióla".
On January 5, 1998, a performance was given for a large young party crowd at the Penny Lane under the elegant Stockholm Plaza Hotel (where Alexandra Charles had closed her last club ten years earlier). The only potentially disastrous thing that happened was that someone had put a sex tape in the production’s video projector, which luckily was discovered during dress (?) rehearsal so the audience got the normal comedy interlude sequences once watching the show.
For the rest of 1998 and also once in 1999 serious efforts were undertaken to make proper video recordings with professional equipment for television in closed tapings, one of which was done at an unusual showboat Dixie Queen moored at Strandvägen. A TV taping in front of a live audience was done on May 31, 1998, on the main stage at classic Mosebacke Etablissement.

 

 A Wild Side Story Hallowe'en happening took place in 1998 at Stockholm's Café Opera discothèque.
On July 18, 1998, British-Swedish hotel owner Agnes Källström and Jacob founded the F.U.S.I.A. non-profit organization, with Källström as Chairman, to continue producing English-language entertainment with young Swedish performers mainly aimed at foreigners visiting or residing in Stockholm. The organization turned into a kind of cabaret school, with youths 16–25 years old totaling in the hundreds, and some of their parents, constructively involved over the next number of years. It won an award as a youth project[26] and was in business until 2005 (see below).
F.U.S.I.A. premiered its Wild Side Story at the Regina Theater on Queen Street Drottninggatan on August 17, a date the group has called Mae West Day and celebrated every year. Subsequent performances were in the Manhattan Room of the Stockholm World Trade Center on November 17, 1998, and two days later at Frans Schartau Junior College, where three of the cast members were at school. Their 700-seat auditorium drew the largest crowd ever to see this show, and it was followed here by a discussion of topics addressed in the plot and a thank-you speech by the college principal.
Special Wild Side Story happenings of note also took place at Stockholm’s prestigious Café Opera on Hallowe’en, 1998, with Malin Sundström (later of Caramell) in the pumpkin procession, and again at a building party at F.U.S.I.A. headquarters on June 6, 1999.
Spain tour and television 2000[edit]
Flying cast members in from Barcelona and Stockholm, the F.U.S.I.A. cabaret school produced a Grand Canary showing presented on April 10, 2000, at that island’s largest luxury resort, the Anfi del Mar in the village of Arguineguin.
Their director was already on location when the old Gul & Blå wardrobe and other props were packed in 16 banana boxes and taken by 8 cast members as luggage on a long charter flight to the island group belonging to Spain, off the west coast of Africa. Miraculously, when the show’s property was inventoried after their return to Stockholm, not a single item was missing.

 

 Mork and Oljelund as "Betty-Sue" and "Tony".
The cast enjoyed a desert island holiday and took pictures appropriate to their show plot at Puerto Rico de Gran Canaria village, expressing hopes someday to be able also to visit the real thing (the other island) in the Caribbean.
A widely read area newspaper in English published an article that helped establish the reputation of Wild Side Story there.[27] It mentioned F.U.S.I.A. Board Director Jens O.Z. Ehrs who now was in charge in Stockholm, had managed to arrange the tour from that end and helped the players get organized for departure.
The same article also featured some of the young performers, such as Ivan Oljelund II and Johanna Mork. Parts “Tony” and “Betty-Sue” had reached new heights of refinement and hilarity through the intuitive and extraordinary comedic talents of these two, whose videotaped performances were emulated by other interpreters in subsequent casts. (Jacob said he could start taking it easier in training newcomers as long as he had video like that on file.) Another reporter[28] reviewed the show as "polished, professional, good-looking cast, innovative". Mork had already gotten into Stockholm’s respected Balettakademien theatrical school using her “Betty-Sue” act for the final tryout. Oljelund went on to a drama school in Norrköping.

 

 Linder, Rieke, Oljelund and others rehearsing Wild Side Story for TV in June 2000.
Before the latter left the cast, however, the time had come for the first and only major exposure of Wild Side Story on television, which took place in June 2000. Model Olivia Laide Rieke, Miss Stockholm of 1999, joined the cast for the time being as "Anita".
Strix Television was producing episodes of a reality show called The Bar (Baren) that were being taped at a Kinnevik-owned brewery-restaurant in the Stockholm Old Town, on a Riddarfjärden wharf, and broadcast on TV3. The very popular program was about a competition of amateurs from various parts of the country running a nightclub in the big city. Former disco owner Peter Dunk Gästerfelt, for whom Jacob had worked as early as 1968, suggested that some F.U.S.I.A. entertainment would liven things up, and now Spanish-tour cast member Daniel Linder was also employed at the place as a waiter.
Thus five segments were contracted, taped and aired showing the cast and crew of Wild Side Story setting up, rehearsing, negotiating with competing restaurant managers and performing the show one night for a general audience. F.U.S.I.A. was pleased that the segments were edited to show the quality of the production work it was doing with local youths, and the director laughed himself half sick watching one of his temper tantrums on Swedish national television.
A Southern Isle newspaper, under a Greta Garbo caricature logotype (she was born nearby), published a comprehensive and entertaining advance article about the show and group.[29] With Wild Side Story called a "cult show" there for the first time, the review helped fill the brewery for the special event when the whole show was performed there on June 25, 2000.
At the request of another cast member, a number of performances were also given in August at the Rosenlund Theater of Stockholm with ticket sales handled (poorly as documented) by the Stockholm Pride festival going on in Tantolunden park close by.
Additional showings 2002–2004 and later[edit]

 

 Expensive poster of 2003 (see below). Image: F.U.S.I.A.
Chairman Källström had resigned and moved to Spain, which left F.U.S.I.A. increasingly disorganized at the top, a condition that eventually infested the organization with little demons of disaster and was fatal to it by early 2005. Financing was a constant problem.
In the meantime, however, under Chairman Ing-Rid Gunnarsson, some advances were made toward a primary goal of running a regular nightly summer show in English in a good location downtown Stockholm, in cooperation with the city’s major hotels and tourist trade in general.
In April 2002 a written deal was struck with a restaurant in the Gallerian mall near the main tourist information center at Sweden House, an ideal venue. After some video taping had been done on location the arrangement was abruptly cancelled for reasons unknown. It seemed to F.U.S.I.A. that there was disagreement among the owners of the place about the type of show they wanted there, and it was also suspected that a girlfriend of one of the partners didn’t understand or care for the concept of lip-synching, even in a parody format. Such problems with bar owners in Sweden, infighting and flippant attitudes toward deals made, even signed, were nothing new to these show people.
Since 1998, the West show material mentioned above under Stockholm Revival had been organized into cabaret-style acts featuring many young people in the ever-growing membership of F.U.S.I.A.. All-time Wild Side Story veteran cast member H. Magnus Olsson, the soldier mentioned above under Stockholm Revival, was appointed Captain of the Cast for both acts. He was now joined by an even earlier veteran Agneta Lindén, “Anita” of the 1976 Swedish cast, who began to play “Aunt Paro-Diva” in these newly invented Westites-Maeniacs shows.

 

 Mattsson's Angst as "Betty-Sue" in You Don't Know What Love Is out of Wild Side Story, July 2003.
After a dark year for Wild Side Story in 2001, cast replacements were accomplished through posters put up at relevant area schools. F.U.S.I.A. was joined from the Rytmus Music School by Mohombi Moupondo and Patrik Hont. The former went on with his Group Avalon to win “Best Europe African Diaspora” in the Kora Awards of 2003 and to international fame in 2010. Hont is mentioned in a photo caption above under Story Line. Both boys were 17 so parental approval in writing was required for them to be able to join. In 2009 Hont attends Teaterhögskolan.
Henrik Bergström joined from Kulturama. Bergström is mentioned above with Hont in the same photo caption and has since graduated Teaterhögskolan at the University of Gothenburg. He was seconded as "Tony" by Chris Ajaxon[30] from a local band called Tessla. Other young people joined from the drama classes at Södra Latin high school near F.U.S.I.A. headquarters on the Southern Isle. Of them Helena Mattsson, also 17 when she joined, has achieved international fame, according to her own account because the work she did in English at F.U.S.I.A. gave her the courage to attend casting calls in London.
ABF Arbetarnas bildningsförbund provided some small financial relief by subsidizing the show group’s activities when they could be organized into documented study circles. Rehearsals were also able to be conducted at ABF. Two Wild Side Story preview performances with nearly new casts were given at the Zeta theater of ABF headquarters on April 5 and April 12, 2002. Two parallel casts had been fully trained so there would be dependable reserves in all the shifts required for a good summer run. Some of the show’s numbers were also played in August 2002 at Gunnarsson’s 50th birthday party, and again in December at a large private party at the Elverket hall in suburban Lidingö.

 

 Mattsson and Moupondo after a 2002 Wild Side Story rehearsal.
Trying in vain to get sponsorship and battling creative inertia in Stockholm stood in the way of progress just about as much in 2002 as when Lars Jacob expounded on the subjects in a major article for a cultural employment magazine 8 years earlier.[31] But in 2003 the Stockholm Visitors Board tourism authority, under the City of Stockholm, decided to spring for expensive color brochures and posters for a new summer showing of Wild Side Story to take place at last in an excellent location on King’s Street Kungsgatan (Stockholm). The poster was designed by Assistant Producer Sami Josefsson.
F.U.S.I.A. had invented its own club name Wild Side International Show Lounge with a new logotype by 17-year-old member and lighting assistant Nicklas Rydberg. It opened its dinner theater at the King's Street location in July, doing two shows a night, and gave 45 performances there that summer. One afternoon a gutsy cast with a ghetto blaster did the whole show in front of the club on Hötorget square, proving once and for all the quality of the entertainment, some said, by the fact that hundreds of passers by stopped and about 50 stood there for the full hour.
August 8, 2003, marked 30 years to the day since Wild Side Story first opened in Miami Beach. A special anniversary showing was given to mark the date at Bistro Heaven in Adam & Eve Mall, once again on Queen Street. Josefsson did his only show playing “Bernardo” on that occasion and it has since been lamented that he has not done more on stage (he is a certified construction engineer today).

 

 Lindarw, Lindén, Jacob and Hont at meeting to remember Steve Vigil on September 14, 2003.
On September 14, there were sentimental moments at F.U.S.I.A. headquarters. It was the first birth date of Steve Vigil's (see above) since it had become known in Sweden the winter before that he had died in 1997. Cast members Lindarw and Lindén of 1976 joined Jacob for a special remembrance. It was also attended by young Hont, who now was playing the starring role to the hilt. Those who knew Vigil found Hont’s face amazingly similar (though finding him generally of a smilier disposition than Vigil was).
The “Wild Side Lounge” phenomenon opened again in June 2004 in a subterranean locale also centrally located near the Stockholm Concert Hall of Nobel Prize notoriety. Here “Anita” was played intermittently by Oksana Maria Lorczak, who won the Miss Stockholm crown in the Miss Earth Sweden pageant of 2004. Playing “Obvióla”, once he mended a shoulder dislocated during dress rehearsal, was Prince Mahanandan Tyagi, an Indian-Swedish tennis champion. Over 20 performances of Wild Side Story were given in the location before it had to close due to ventilation permit problems of which F.U.S.I.A. management had not been advised when their contract was signed.
In special review wording of its own in 2003, the Visitor’s Board's magazine, given out to guests at each of Stockholm County’s over 200 hotels, called the piece “a wonderful evening of singing, dancing and music in a fast-paced parody”, and again in 2004 “laughter, fun, pantomime, dancing and music, Wild Side story pokes fun at the foibles of human behavior and much more...”.[32]

 

 "Anita" and "Bernardo" at La Isla in 1997.
Finding out that F.U.S.I.A. was more of an international group than many others, ABF requested an ethnic membership list and made an additional grant for multicultural activity. Compiling the list in 2004, F.U.S.I.A. realized that among the young people involved in its entertainment and training since 1998, besides all-Swedish roots of some, one or both parents of the rest had been from Norway, Finland, the United Kingdom, the Netherlands, Spain, Germany, Poland, Hungary, Romania, Italy, Macedonia, Greece, the Ukraine, Turkey & Kurdistan, the United States, Canada, Mexico, Cuba, Barbados, Saint Lucia, Jamaica, Peru, Colombia, Uruguay, Australia, Morocco, Liberia, the Gambia, Togo, Benin, Ghana, Ethiopia, Congo (both), Angola, Iran, Iraq, Yemen, Pakistan, India, Sri Lanka, Philippines, Malaysia or Korea.

 

 Cast captain and Wild Side Story veteran Olsson with Ehrs and Eikner in Stockholm in 2005.
On October 30, 2004, “Wild Side” had built its own stage in another underground room at Götgatan 101 on central Stockholm’s most southerly outskirt. It was there and on that date that F.U.S.I.A. gave the very last performance of Wild Side Story as a Hallowe’en treat, before the organization was disbanded in March 2005. Things had come full circle, southerly to southerly, underground to underground, also when Agnes Källström returned as Honorary Chairman to give a little welcome prestige to a properly conducted end of business.
This, a large number of fine-tuned performances by exceptionally talented youths of future note and generous municipal backing by the City of Stockholm, closed out the Wild Side Story story with dignity. H. Magnus Olsson had played “Bernardo” for the 200th time since 1997.
He and Jens O. Z. Ehrs were vital along with Jacob to the functioning of their organization from 1997 till the end in 2005. Some membership was taken up into a new and smaller group of players, CabarEng, chaired by Emil Eikner, a Swedish chess champion, chef and singer. While Olsson stored the show's wardrobe and props, Eikner agreed to maintain the F.U.S.I.A. files till 2015.
Several numbers from Wild Side Story have been featured in the cabaret show CaCa Bleu[33] in Stockholm 2009-2011 and in Cabaret Large A-Cup[34] as performed by CabarEng's[35] ensemble in New York City, Washington DC and Annapolis in September–October 2011,[36] as well as in ÄngelCab in the Stockholm Old Town in 2013.[37][38]
References[edit]
1.Jump up ^ Lars Jacob Prod. (Stockholm), extensive references (see Lars Jacob), documentation, photography, film, audio and video on file, and available to the public for third party review, re: all details of manuscript, production, performances, venues, audiences, cast and crew, celebrities encountered and various adventures
2.^ Jump up to: a b Eva Norlén (July 21, 1997) "Åtta handplockade artister lovar en helvild kväll" Aftonbladet p 37 [from article:] "Lars Jacob huserade på legendariska Alexandra på 70-talet med storslagna shower. Han började 1973 i Miami Beach och jobbade med kubanska flyktingar, satte upp shower här 1976, fortsatte sedan i Los Angeles tills han började sitt jobb med chefsposition på Beverly Hills Hotel (Lars Jacob was housed with his grand scale shows at legendary Alexandra in the 70's. He began in 1973 in Miami Beach and worked with Cuban refugees, put shows on here in 1976, then continued in Los Angeles until he began working in an executive position at The Beverly Hills Hotel)"
3.Jump up ^ Michael Kearns (November 30, 1979) "When told 'this is going to be the most unusual thing you've ever seen,' I wanted to respond 'You don't know what I've seen!' However after seventy-five outlandish minutes of Wild Side Story, I concede. ... this new wave production is attracting a cult following including celebrities too numerous to mention." San Diego Update (California), L.A. Life section p 13
4.Jump up ^ Island Connections (Los Cristianos), April 7, 2000 p 2 "Lars [Jacob's] background is show business and hotels. With a theatrical career spanning nearly three decades and connections with stars like Londoner Danny La Rue and actor Max von Sydow."
5.Jump up ^ Nichols, Jack (May 19, 1997). "Logan Carter Remembered". Gay Today. Archived from the original on 2008-11-26.
6.Jump up ^ Carter/Russell appears in this photo as a member of the early cast Commons:File:West Side Tuna Cast.jpg and on stage in the show at Commons:File:Roxanne Russell in WST.jpg
7.Jump up ^ Boxx managed the New York City club during the Stonewall riots of 1969
8.^ Jump up to: a b these quotes certified in Lars Jacob Prod. publicity files
9.Jump up ^ Data Boy (Los Angeles) October 26, 1979 p 76.
10.Jump up ^ Miami Magazine 24:14 February 1974 front & p. 2, 41 & 42
11.Jump up ^ nightclub on Swedish Wikipedia
12.Jump up ^ Steve Vigil on Swedish Wikipedia
13.Jump up ^ MånadsJournalen magazine, April issue 1996 p. 10
14.Jump up ^ Sten Hedman in Damernas Värld January 14, 1976 p. 10
15.Jump up ^ La Dolce Vita by Kalle Westerling, Normal, Stockholm, 2006
16.Jump up ^ Anders Zorn, Anders Hanser Television, Stockholm, 1995, video on file
17.Jump up ^ Americans should only know...
18.Jump up ^ Mae West a Biography, Eells & Musgrove, William Morrow, New York, 1982 p 304
19.Jump up ^ San Diego Update, L.A. Life (entertainment section), November 30, 1979 p 13
20.Jump up ^ Dagens Nyheter, August 18, 1993 p 1 & B3
21.Jump up ^ Jahn, Titti Hänt i Veckan (Stockholm) September 9, 1993 p22
22.Jump up ^ Eva Norlén (July 21, 1997). "Åtta handplockade artister lovar en helvild kväll". Aftonbladet (in Swedish) (Stockholm). p. 37.
23.Jump up ^ Stockholm International July 16, 1997
24.Jump up ^ Radio Stockholm July 28, 1997
25.Jump up ^ Öppna Kanalen July 22, 1997
26.Jump up ^ Skandia’s "Ideas for Life" stipend 2001–2002 for Läckerhetsvakten
27.Jump up ^ Island Connections (Los Cristianos), April 7, 2000 p 2
28.Jump up ^ Hazel Jolly of the Island Sun (Maspalomas)
29.Jump up ^ Tidningen Södermalm, “Nöjesrepubliken” section, June 24, 2000 p 22
30.Jump up ^ Christer Ajaxsson a.k.a. Chris the Improbable (Christer den osannolike)
31.Jump up ^ interview by Käthie Strandberg in Idéa published by Arbetsförmedlingen Kultur (Stockholm), September issue 1994 p 12-15
32.Jump up ^ What’s On (Stockholm), issues of July 2003 (p. 16) & July 2004 (p. 12)
33.Jump up ^ Stockholm City 2010-03-22 p. 2
34.Jump up ^ Metropolitan Room online
35.Jump up ^ CabarEng på Facebook
36.Jump up ^ Marian Vnuk in an article online i NSD 2011-10-03
37.Jump up ^ Metro Stockholm 2013-02-08 p 18
38.Jump up ^ Aftonbladet/Nöjesbladet 2013-02-08 p 25
 Wikimedia Commons has media related to Wild Side Story.
 

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Upper West Side Story

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"Upper West Side Story"
White Collar episode
White Collar UWSS.jpg
Neal (Matt Bomer) teaches an English class while Chloe (Elizabeth Gillies) and Peter (Tim DeKay) look on
 
Episode no.
Season 3
 Episode 12
Directed by
Russell Lee Fine
Written by
Alexandra McNally & Jim Campolongo
Original air date
January 24, 2012
Guest actors

Dylan Baker as Andy Woods
Elizabeth Gillies as Chloe Woods
Graham Phillips as Evan Leary
Rosalyn Coleman
John Rothman as Graham Slater
Sharif Atkins as Clinton Jones
 
Episode chronology

← Previous
 "Checkmate" Next →
 "Neighborhood Watch"

List of White Collar episodes
"Upper West Side Story" is the 12th episode of the third season of the of the American comedy-drama television series White Collar, and the 42nd episode overall. It was first broadcast on USA Network in the United States on January 24, 2012. The episode was directed by Russell Lee Fine and written by Alexandra McNally and Jim Campolongo.
The episode features many themes of Shakespeare's Romeo and Juliet, and contains various allusions to Shakespearean and Victorian-era literature. After a student (Graham Phillips) at a prestigious prep school approaches Peter Burke and Neal Caffrey about missing scholarship funds, they begin investigating the father (Dylan Baker) of the boy's crush (Elizabeth Gillies).
According the Nielsen ratings system, an estimated 3.472 million household viewers watched the original broadcast of the episode, with 1.1 million in the 18–49 demographic. "Upper West Side Story" received mostly positive reviews.

Contents
  [hide] 1 Plot
2 Production
3 Reception 3.1 Ratings
3.2 Reviews
4 References
5 External links
Plot[edit]
Neal (Matt Bomer) and Peter (Tim DeKay) are approached by Evan Leary (Graham Phillips), a student at the prestigious Manhattan Preparatory Academy. Evan explains that he believes the money from his scholarship fund was embezzled by a rich investor by the name of Andy Woods (Dylan Baker). Peter quickly takes the case, realizing that Woods is already believed to be associated with a major cartel.
Peter visits the school under the guise of the parent of a potential student. Neal is to pose as his assistant, but he instead takes on the role of a substitute English teacher after learning that both Evan and Woods' daughter, Chloe (Elizabeth Gillies), are in the class. Woods soon discovers that Peter may not be who he says he is after learning that he lied about his hotel arrangements; Peter covers for this by admitting that he spent the night with his mistress. Later, Neal tells Mozzie (Willie Garson) about Evan's silent attraction to Chloe, and that he plans to set them up using a sonnet.
Peter discovers that Woods may be working with Graham Slater (John Rothman), the school's headmaster, in order to embezzle the funds. The following day, at the school, Neal sees Slater drop an envelope into Chloe's locker. In order to check the contents of the envelope, Peter pulls the fire alarm. Neal finds the school's quarterly finance report inside.
Chloe later asks Neal to tutor her at home; he accepts and invites Evan to come as well. Woods invites Peter to dinner the same night, and asks that he bring his mistress along as well. Diana (Marsha Thomason), posing as Peter's mistress, accompanies Peter, and, while there, stages a quarrel. Peter, feigning frustration, opens a door to exit, setting off an alarm in the process. Woods turns the alarm off; this allows Neal to easily break into his office and clone Woods' hard drive. Chloe follows Neal into her father's office and accidentally pocket dials Woods. Realizing something is wrong, Woods goes downstairs to his office and discovers Neal with Chloe. Evan quickly enters, taking the blame for the mistake.
The next day, Evan lets Neal know that Woods suspects something. Peter is taken hostage by Woods and held in the shop classroom, where Woods quickly discovers that Peter is with the FBI. Neal takes Chloe's phone and calls Woods, forcing him to step out of the room. Neal and Mozzie create a smokescreen out of lab chemicals and free Peter; Diana meanwhile arrests Woods. Neal explains to Chloe that her life will not be easy, and she begins a relationship with Evan after discovering roses and the sonnet left by Neal and Mozzie.
Later, Peter must give a statement to the commutation committee about Neal's involvement with the Keller case. Although Neal's actions had caused the kidnapping of Elizabeth (Tiffani Thiessen), Peter opts to omit the details surrounding Neal's theft of the art.
Production[edit]


I love that part of White Collar a lot because it's fun, it's light, there's a lot of heart in those episodes.
Tim DeKay[1]
The episode was written by Alexandra McNally and Jim Campolongo.[2] It was McNally's fifth episode since joining the series during the second season, and Campolongo's sixth overall. It was their first time to collaborate on an episode. "Upper West Side Story" was directed by Russell Lee Fine,[2] his third directing credit for the series after the episodes "Payback" and "On Guard". Working titles for the episode included "Well Endowed" and "Hangin' with Mr. Cooper".[3][4] It was first reported on July 11, 2011 that Dylan Baker and Elizabeth Gillies would appear in an episode of White Collar as Andy Woods and his daughter.[5] Other guest stars to appear in the episode include Graham Phillips.
Series star Tim DeKay stated that he enjoyed working on the episode, in part because it was primarily a standalone.[1] Bomer said, speaking of "Upper West Side Story", that he enjoys portraying different aspects of Neal's undercover roles.[1] Bomer stated that he received a phone call from Campolongo requesting that he memorize a Byron poem by the next morning.[1] The poem was ultimately included in a scene in which Neal is teaching an English class. Kenny Herzog of The A.V. Club pointed out that the episode contained various references to Shakespearian and Victorian-era literature, specifically mentioning Romeo and Juliet. He stated that these metaphors helped move the plot forward.[6]
Reception[edit]

 

Dylan Baker's performance as Andy Woods was met with mixed reactions from critics.
Ratings[edit]
The initial broadcast of the episode drew 3.472 million viewers, and earned a 1.1 rating in the 18–49 demographic.[7] "Upper West Side Story" ranked seventh place among cable series for the night in the 18–49 demographic and fourth in its timeslot, surpassed by Teen Mom 2, Storage Wars, and The Game.[7] The original broadcast of the episode overlapped with the 2012 State of the Union Address for the first 17 minutes;[8] however, viewership for the episode increased slightly from the previous week.
Reviews[edit]
"Upper West Side Story" received mostly positive reviews from critics, with many praising the mostly standalone format and the rebuilding of Neal and Peter's relationship. Morgan Glennon of the Huffington Post called the episode "a really fun undercover romp that still deals with the fallout between Neal and Peter."[9] Michelle Carlbert stated that she "felt like it put Neal and Peter back on track" and that she enjoyed the standalone case.[10] Brittany Frederick of Starpulse.com said that "this is an episode that reminds me why I fell in love with White Collar."[11] Frederick compared the episode to "Mr. Monk Goes Back to School", an episode of USA Network's Monk; she likened Baker's character to that of Andrew McCarthy's in Monk, stating that as a villain, McCarthy was evil yet endearing, while Baker appeared genuinely evil.[11] She also praised the series for utilizing comedy rather than drama.[11] Kenny Herzog of The A.V. Club gave the episode a more mixed review, stating that while the series was "at its caper-hatching best," it was "also its most excessively ludicrous."[6] Like Frederick, Herzog praised the use of comedy, though he felt that Baker appeared to be more like "a cartoon bully."[6] He ultimately gave the episode a B-.[6]
References[edit]
1.^ Jump up to: a b c d Ng, Phillana (January 17, 2012). "'White Collar' Duo Matt Bomer and Tim DeKay Say Season-Ending Cliffhanger Is 'Biggest' One Yet". Hollywood Reporter. Retrieved January 29, 2012.
2.^ Jump up to: a b "Upper West Side Story". White Collar. Season 3. Episode 12. January 24, 2012. USA Network.
3.Jump up ^ Eastin, Jeff (January 25, 2012). "Twitter / @jeffeastin: #WhiteCollar trivia: our original title was "Well Endowed"". Twitter. Retrieved January 29, 2012.
4.Jump up ^ Eastin, Jeff (January 25, 2012). "Twitter / @jeffeastin: #WhiteCollar Trivia: another title option was "Hangin' with Mr. Cooper"". Twitter. Retrieved January 29, 2012.
5.Jump up ^ Gelman, Vlada (July 11, 2011). "Exclusive: White Collar Captures Dylan Baker". TV Line. Retrieved January 29, 2012.
6.^ Jump up to: a b c d Herzog, Kenny (January 24, 2012). ""Upper West Side Story"". The A.V. Club. Retrieved January 29, 2012.
7.^ Jump up to: a b Seidman, Robert (January 24, 2012). "Tuesday Cable Ratings: Teen Mom,' 'Storage Wars' Tops + 'The Game,' 'White Collar,' 'Justified,' 'Southland' & More". TV by the Numbers. Retrieved January 28, 2012.
8.Jump up ^ VanDerWerff, Todd (January 24, 2012). "The State Of The Union bumped most everything off the air tonight, so why not give White Collar a try?". The A.V. Club. Retrieved January 29, 2012.
9.Jump up ^ Glennon, Morgan (January 10, 2012). "White Collar Winter Season Preview". Huffpost TV. Retrieved January 29, 2012.
10.Jump up ^ Carlbert, Michelle (January 24, 2012). "White Collar "Upper West Side Story" Review". Daemon's TV. Retrieved January 29, 2012.
11.^ Jump up to: a b c Frederick, Brittany (January 24, 2012). "'White Collar' Recap: 'Upper West Side Story' (3.12)". Starpulse.com. Retrieved January 29, 2012.
External links[edit]
 Wikiquote has a collection of quotations related to: Upper West Side Story
"Upper West Side Story" at the official White Collar site
"Upper West Side Story" at the Internet Movie Database
"Upper West Side Story" at TV.com

[hide]
­v·
 ­t·
 ­e
 
White Collar

 
Creator: Jeff Eastin

 
Episodes
­"Pilot" (1.01)·
 ­"Upper West Side Story" (3.12)·
 ­"Neighborhood Watch" (3.13)·
 ­"Pulling Strings" (3.14)
 
 
Cast
­Matt Bomer·
 ­Tim DeKay·
 ­Willie Garson·
 ­Tiffani Thiessen·
 ­Marsha Thomason·
 ­Sharif Atkins·
 ­Hilarie Burton·
 ­Natalie Morales
 
 
Characters
­Neal Caffrey·
 ­Peter Burke·
 ­Mozzie·
 ­Elizabeth Burke·
 ­Diana Berrigan·
 ­Clinton Jones·
 ­Sara Ellis·
 ­Lauren Cruz
 

 

Categories: 2012 television episodes
White Collar (TV series) episodes


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The First Time (Glee)

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"The First Time"
Glee episode
Episode no.
Season 3
 Episode 5
Directed by
Bradley Buecker
Written by
Roberto Aguirre-Sacasa
Featured music
"Tonight"
"Uptown Girl"
"A Boy Like That"
"I Have a Love"
"America"
"One Hand, One Heart"
 
Original air date
November 8, 2011
Guest actors

Dot-Marie Jones as Coach Beiste
Max Adler as Dave Karofsky
Damian McGinty as Rory Flanagan
Grant Gustin as Sebastian Smythe
Eric Bruskotter as Cooter Menkins
LaMarcus Tinker as Shane Tinsley
Keong Sim as Mike Chang, Sr.
Tamlyn Tomita as Julia Chang
Curt Mega as Nick
 
Episode chronology

← Previous
 "Pot o' Gold" Next →
 "Mash Off"

List of Glee episodes
"The First Time" is the fifth episode of the third season of the American musical television series Glee, and the 49th overall. Written by Roberto Aguirre-Sacasa and directed by co-executive producer Bradley Buecker, it first aired on Fox in the United States on November 8, 2011. The episode features the preparations for performing West Side Story and the show's opening night, and the various events leading to the decisions by two of the show's student couples—Rachel (Lea Michele) and Finn (Cory Monteith), and Kurt (Chris Colfer) and Blaine (Darren Criss)—to begin having sex.
While an advanced copy of the episode was released to several reviewers and was highly praised by them, the reviewers of the broadcast were not as generally enthusiastic. In particular, some of the plotting and resulting characterization came in for criticism. The performance of "America", however, was widely acclaimed, especially that of Santana (Naya Rivera) in the role of Anita. While the advanced publicity about the "first time" events drew some pre-broadcast condemnation, many critics were enthusiastic about the fact that a gay couple was being given such a storyline.
All six songs were released in five singles, available for download. Of these, "Uptown Girl", a song sung by the returning Dalton Academy Warblers, charted on the Billboard Hot 100, and also on the Canadian Hot 100. The remaining songs, all from West Side Story, did not chart. Upon its initial airing, this episode was viewed by 6.91 million American viewers, the lowest of the season, and garnered a 3.1/10 Nielsen rating/share in the 18–49 demographic. The total viewership for this episode was down somewhat from the previous episode, "Pot o' Gold", though ratings were fractionally higher.

Contents
  [hide] 1 Plot
2 Production
3 Reception 3.1 Ratings
3.2 Pre-broadcast reception
3.3 Critical reception
3.4 Music and performances
3.5 Chart history
4 References
5 External links
Plot[edit]
Artie Abrams (Kevin McHale) has taken charge of directing the school musical, West Side Story, and he tells the two leads—Rachel (Lea Michele), playing Maria, and Blaine (Darren Criss), playing Tony—that they are not conveying enough emotion in their rendition of "Tonight". He questions whether they can convincingly portray the roles if they are still virgins. Later, his co-director Coach Beiste (Dot-Marie Jones) confesses to him that she is attracted to football recruiter Cooter Menkins (Eric Bruskotter), who is at McKinley to scout potential players for Ohio State, though she is sure he would never consider her. Artie thinks otherwise, and acting on his advice, Cooter arranges a date with her.

  
In this episode, Kurt (Colfer, left) and Blaine (Criss, right) make the decision to have sex for the first time.
 
Blaine and Kurt (Chris Colfer) discuss their decision to postpone sex. Blaine goes to Dalton Academy to invite the Warblers to see him in West Side Story and arrives as they are performing "Uptown Girl". Afterward, new Warbler Sebastian Smythe (Grant Gustin) makes a play for Blaine, intercut with Santana (Naya Rivera) and Rachel singing "A Boy Like That" from the musical. They later meet at a coffee shop, and Kurt arrives as Blaine is telling Sebastian that he already has a boyfriend. Sebastian convinces them to go with him to the local gay bar and supplies fake IDs. While Blaine and Sebastian are dancing, Kurt is surprised to see Dave Karofsky (Max Adler), who has transferred to another school. When Blaine and Kurt leave, Blaine is drunk and aroused, and urges Kurt to have sex with him in the back seat of the car; Kurt refuses, and Blaine angrily walks home.
Rachel lets Finn (Cory Monteith) know that she is interested in having sex with him, but he balks when she admits her reason is to be a better Maria. Later, she asks advice from the other girls in the show. While Santana and Quinn (Dianna Agron) both urge her not to have sex with Finn, Tina (Jenna Ushkowitz) reveals that she and Mike (Harry Shum, Jr.) had sex over the summer and says how wonderful it was with the boy she loved—her words are intercut with Rachel and Santana singing "I Have a Love" in rehearsal. Mike's father (Keong Sim) confronts him about his participation in the musical, and Mike tells him he wants to be a professional dancer, not a doctor. His father disowns him.
Cooter recruits Shane (LaMarcus Tinker) for Ohio State, but not Finn, who is despondent about his future. Rachel comforts him, and promises that she will help him find a new future. Back at school, Blaine apologizes to Kurt for getting drunk, and says he cares nothing for Sebastian. Kurt proposes that they go over to Blaine's house for the night.
On opening night, Artie is assailed by self-doubt, but he is thanked by the cast for his leadership, and he thanks them for trusting him. They perform "America", which gets a standing ovation. Blaine and Rachel, waiting to go on and still virgins, are afraid they will not convey the necessary emotion, but Rachel reminds Blaine that they both have found their soulmates in Finn and Kurt, just like Maria and Tony had with each other. As they sing "One Hand, One Heart" on stage, they are also shown in scenes involving their first sexual encounters with their true soulmates.
Production[edit]
The episode began filming on September 23, 2011,[1] and ended on October 14, 2011.[2] The last nine days were shot in parallel with the sixth episode, which began shooting on October 6, 2011,[3] and briefly with the seventh episode, which began shooting on October 13, 2011.[4]
Grant Gustin makes his first appearance in this episode, playing a new "major" recurring character, Sebastian Smythe,[5] a "gay Dalton Academy Warbler who sets his sights on Blaine".[6] Gustin won the role after "an exhaustive, weeks-long casting search", and the character is referred to as "promiscuous" and "scheming".[6] Gustin's first day on the Glee set was September 26, 2011.[7] He had been playing the role of Baby John in the touring company of Broadway revival of West Side Story since it opened on September 30, 2010, and left the show after performing on September 23, 2011 to return for his first day with Glee.[8][9]
Although the Dalton Academy Warblers also return in this episode, they are not voiced by the Tufts Beelzebubs, who sang backgrounds for Warblers numbers in the second season.[10] According to Curt Mega, who sings lead on the Warblers track in this episode, the backgrounds were sung by "Jon Hall, Brock Baker and Luke Edgemon and some others", with the three named men having played on-screen Warblers in the second season.[11] Some of the actors who played Warblers in the second season, including Hall and Mega, returned for the third.[12] After the Warblers were filmed on October 3, 2011, Dominic Barnes, who played Trent in season two, tweeted to Gustin, "very impressive moves today sir", to which Gustin replied, "Thanks bro! Fun stuff!!"[13][14]
Another "major recurring role" debuts in this episode: Eric Bruskotter joins the cast as Cooter Menkins,[15] "a football recruiter who comes scouting for talent at McKinley, but finds he can’t take his eyes off the team’s gruff but big-hearted coach."[16] Other recurring guest stars that appear in the episode include football coach Shannon Beiste (Jones), the focus of Cooter's eyes,[17] former prom king Dave Karofsky (Adler),[18] exchange student and new glee club member Rory Flanagan (Damian McGinty),[19] and Mike's parents Julia Chang and Mike Chang, Sr. (Tamlyn Tomita and Sim).[20]
This episode features six covers, five of which are from West Side Story, the stage musical being rehearsed and performed during the course of the episode: "A Boy Like That" and "I Have a Love" sung by Rivera and Michele,[18] "Tonight" and "One Hand, One Heart" sung by Michele and Criss, and the number performed by the Sharks and Jets, "America".[21] The sixth cover, "Uptown Girl", is sung by the Dalton Academy Warblers, with Mega on lead vocal.[22][23]
Reception[edit]
Ratings[edit]
"The First Time" was first broadcast on November 8, 2011 in the United States on Fox. It garnered a 3.1/8 Nielsen rating/share in the 18–49 demographic, and received 6.91 million American viewers during its initial airing, the lowest number of viewers for a new episode in the third season.[24] While the show's viewership was down by over 7% from the 7.47 million for previous new episode, "Pot o' Gold", which was broadcast on November 1, 2011, the rating in the 18–49 demographic increased slightly from the 3.0/8 rating/share received by that episode.[25]
Viewership also decreased in other countries, and hit season lows in the United Kingdom and Australia as well. In the United Kingdom, "The First Time" was watched on Sky1 by 973,000 viewers, down 7% compared to "Pot o' Gold" the previous week, when 1.05 million viewers were watching.[26] In Australia, "The First Time" was watched by 660,000 viewers, which made Glee the fourteenth most-watched program of the night. The viewership was down almost 9% from "Pot o' Gold", which was seen by 724,000 viewers.[27] In Canada, however, viewership was up slightly and 1.66 million viewers watched the episode, which made it the fifteenth most-viewed show of the week, up three slots and over 2% from the 1.62 million viewers who watched "Pot o' Gold" the week before.[28]
Pre-broadcast reception[edit]
Like "Asian F" before it, screener copies of this episode were sent to a number of critics before the show aired. Michael Ausiello of TVLine called it "stellar" and a "standout episode", and Entertainment Weekly's Tim Stack wrote that it was "one of Glee's best installments ever" and an "exceptional episode". Both articles headlined the sexual theme of the episode, and made prominent mention of the fact that both couples would be "having sex for the first time".[20][29]
Prior to broadcast, Colfer anticipated that the episode's sexual themes and content would prove controversial among television watchdog groups. He said, "I absolutely expect to hear from them, but I think it's handled very sweetly and very emotionally. They're expecting this big, raunchy, suggestive, brainwashing storyline when, really, it's very sweet."[30] Before the episode aired, the conservative Parents Television Council called the show "reprehensible" and the Fox network reckless for "celebrating teen sex".[31]
Critical reception[edit]

  
Reviewers were critical of Rachel's (Michele, left) motivations in her decision to have sex with Finn (Monteith, right).
 
When the show aired, the reviewers were not as uniformly enthusiastic as the screeners. Bobby Hankinson of The Houston Chronicle called this "one of the better episodes in the show’s three-season run, though not as good as 'Asian F'".[32] Time's James Poniewozik weighted them differently, calling "The First Time" the "best episode, overall, of Glee season three".[33] Raymund Flandez of The Wall Street Journal said it had "tasteful restraint, subtle playfulness and smoothly woven storylines", and The Atlantic's Kevin Fallon said the episode "treats its characters realistically and send an important message".[34][35] Robert Canning of IGN gave the episode a "good" grade of 7.5 out of 10.[36] Rolling Stone's Erica Futterman wrote that it was "clinical and awkward", and the "second flatline" episode in a row, though she complimented the four actors playing the two couples as "genuine and relatable".[37] John Kubicek of BuddyTV said that the episode infuriated him "on a grand scale".[38] Amy Reiter of The Los Angeles Times wrote that the episode was "far more nuanced, gentle-hearted and romantic than it sounds—much more about love than about sex", and a number of reviewers agreed, including AOLTV's Crystal Bell.[39][40] For Hankinson, however, "the teenage lust was played a touch too safe, a bit too romanticized".[32]
Canning said that Kurt and Blaine's "attempts to get a little wild", and "trying to grow up faster than they should", were "the better parts of the episode as they felt the most realistic".[36] Futterman praised their departure from the bar as a "very faithful and honest scene".[37] Todd VanDerWerff of The A.V. Club and Kubicek both had issues with Blaine's characterization. The latter asserted that he "just behaves however the writers need him to behave in order for the scene to work", while the former said that Blaine's season three storyline "hasn’t been bad by any means, but it does feel like Darren Criss is playing someone who’s quite a bit different from the guy he was playing last season".[38][41] Bell was impressed by the way the characters' relationship "inspires gay youth in a way that we haven't seen on network television yet" and called them "amazing role models for all teens", and Fallon said it was "remarkable" and a "milestone" that "the decision by gay teen characters to lose their virginities is given equal weight to that of a straight couple".[35][40] Anthony Benigno of The Faster Times characterized the scene with Kurt and Karofsky as "subtle" and "a home run", and Entertainment Weekly's Abby West called it a "perfect little nuanced scene", while Ausiello said it was his "favorite scene of the episode".[29][42][43]
Poniewozik complimented the way "Monteith really sold Finn’s feeling of being helpless and overmatched", and Canning said that Finn's reaction to Rachel's admission that she wanted to have sex because of the play was a "solid and true moment".[33][36] Rachel's reasoning, however, came in for harsh criticism: Brett Berk of Vanity Fair said it was "neither believable nor even amusing" that she would try intercourse for such a reason, Bell called her a "dunce", and VanDerWerff didn't believe that she would just blurt it out to Finn.[40][41][44] The Star-Ledger's Vicki Hyman felt her decision to go all the way did not "ring quite true", and Poniewozik called it "essentially pity sex".[33][45] Ausiello had a different view—"I would hardly call it pity sex"—and West said she was "going to choose to believe" that Rachel did not have her first time "just to make him feel better".[29][43]
Several of Artie's scenes came in for criticism. The scene where he advised Rachel and Blaine to have sex was viewed by Poniewozik as "a forced conflict designed to drive the plot" and highly implausible for a number of reasons.[33] Kubicek stated that "acting is about pretending, and if Rachel is really a great actress, she'd be able to play the emotion without needing to have sex".[38] Bell and West made similar points.[40][43] Rae Votta of Billboard commented on the "weird" plotline that involved Artie and Coach Beiste, for which Kubicek called Artie's actions "inappropriate".[38][46] While Hyman "liked Artie coming into his own as a director", she called his pre-show jitters "jarring", though she called his final speech "a nice moment", and Benigno characterized it as "a kind of cheesy but actually appropriate speech".[42][45] Futterman felt it was a "valid and heartwarming point", but "awkwardly slotted in".[37] Poniewozik credited Jones as Coach Beiste with "stunning work", and Kubicek said Beiste's "fragile lack of self-esteem" was "believable and heartfelt" and that Jones was "brilliant".[33][38]
The scene where Mike is disowned by his father was characterized as "weird" and "tonally off" by VanDerWerff and "abrupt and unlikely" by Hyman.[41][45] Kubicek was even more critical: "the most over-the-top, terribly cliched scene ever".[38] However, Votta gave "kudos to Glee for sticking with Mike's story this season as he figures out his path", and West wrote that Shum "played it well", while Canning said it and the later scene with his mother "were mighty effective, if a bit stereotypical".[36][43][46] Hyman and West also approved of the latter scene.[43][45]
Sue's absence from the episode was applauded by Bell, who called it "exactly what the show needed".[40] Michael Slezak of TVLine said "the show might be at its best" when Sue and Will "are relegated to benchwarmer status", and Poniewozik "did not miss them one bit".[33][47] The new Warbler, Sebastian, was said to be "instantly loathsome" by Benigno.[42] His scene with Blaine that was blended with Santana and Rachel singing "A Boy Like That" was variously described as "savvily intercut" by Hyman, "heavy-handed" by Votta, and bringing "the dangers of teen love" to "ferocious life" by Slezak.[45][46][47]
Of the ending, Futterman noted that "the final scenes actually wound up truthful to these characters", and Kevin Sullivan of MTV wrote that "when the two separate moments finally did arrive at the end of the episode, it felt like the natural end and was quite touching".[37][48]
Music and performances[edit]
Supervising Music Editor David Klotz received a Best Sound Editing: Short Form Musical in Television nomination at the 2012 Golden Reel Awards for his work on the episode.[49] The musical performances were generally well received by reviewers, though a few songs came in for some criticism. One that was given near-universal plaudits was "America", from Hankinson's "awesome" to Hyman's "killer rendition" to VanDerWerff's "one of the best production numbers the show has ever done".[32][41][45] The most frequent caveat seemed to be the accents used by the singers; Flandez thought they "could've used a little finesse", and Futterman characterized them as "questionable", though both complimented the performance's dance moves.[34][37] Santana's performance in the number and the show came in for particular comment: The Hollywood Reporter's Lesley Goldberg called her "completely captivating as Anita", and Rae Votta of Billboard mentioned her "two stand out vocal performances".[46][50]
Of the four other songs from West Side Story, "Tonight" was given an "A−" and called "pretty wonderful" by Benigno, while Futterman thought it "very sweet, yet very vanilla" and West gave it a "B" and noted it "was lacking something".[37][42][43] Slezak gave the musical's songs a collective grade of "A".[47] Although others praised Santana as Anita, Futterman was not impressed with her rendition of "A Boy Like That" and wrote, "Santana's part of the song is not nearly angry or urgent enough and sounds like a watered-down version of what Santana is capable of".[37] West gave the song a "B+", and stated that the song was "stellar for Rachel's fire".[43] Futterman singled out Rachel for "I Have a Love": "Rachel delivers the best vocals of the night with her powerful, yet incredibly high soprano that sounds effortless despite being out of her normal range."[37] Benigno and West both gave "One Hand, One Heart" an "A"; the former called it "wonderful", although he railed about the prevalence of show tunes in the episode, and the latter wrote, "This was a the perfect soundtrack to the trio of first times."[42][43]
The one song that did not come from the musical was "Uptown Girl". Votta said the performance by the Dalton Academy Warblers, with "leads by minor Warbler Nick, played by Curt Mega", was "refreshing and nostalgic all at once, a bright pop musical spot in an episode devoted to Broadway and a reminder of the dominant Dalton presence last season".[46] Bell wrote that the "Warblers were totally born to sing 'Uptown Girl'", and Goldberg called it "among the young season’s best" performances.[40] Flandez said it was a "terrific performance", though Benigno was more restrained, and gave it a "B+" despite there being "less innovation" in the a cappella "gimmick", and noted that "the barbershop-quartet finish is actually pretty good".[34][42] Slezak, however, said the song was the only musical "weak link" in the episode, and Canning called it "too polished".[36][47] Futterman thought the lead singers were "grating and over-the-top", and Poniewozik characterized the performance as "unfortunate".[33][37]
Chart history[edit]
See also: Glee Cast discography
One of the six cover versions released as five singles—the "A Boy Like That" single also contained "I Have a Love"—debuted on the Billboard Hot 100: "Uptown Girl" debuted at number sixty-eight.[51] It also debuted on the Canadian Hot 100 at number eighty-three.[52] The other singles, all from West Side Story, did not chart. Two of these singles, "Uptown Girl" and "Tonight", are included on the soundtrack album Glee: The Music, Volume 7.[53]
References[edit]
1.Jump up ^ Michele, Lea (September 21, 2011). "Twitter / @msleamichele: Off to bed now.. Last two days of episode 4 with @Adamshankman.. And then we start #5 which is a gooood one... :)". Retrieved September 22, 2011.
2.Jump up ^ Michele, Lea (October 13, 2011). "Twitter / @msleamichele: Off to bed... Finishing episode 5 tomorrow! Im feelin a little West Side Story... :)". Retrieved October 15, 2011.
3.Jump up ^ Michele, Lea (October 6, 2011). "Twitter / @msleamichele: Starting episode 6 today! Haven't finished 5 yet so gotta shoot both at the same time! Kinda confusing.. Haha". Retrieved October 15, 2011.
4.Jump up ^ Michele, Lea (October 13, 2011). "Twitter / @msleamichele: First scene up.. Me @chriscolfer and Heather.. Starting episode 7 today.. Still shooting 5 and 6 though! Three at once!! Oy vey!". Retrieved October 15, 2011.
5.Jump up ^ GleeOnFox (November 9, 2011). "GLEE - Behind the Scenes with The Warblers". Retrieved November 9, 2011.
6.^ Jump up to: a b Ausiello, Michael (September 27, 2011). "Glee Exclusive: New Gay Warbler to Come Between Kurt and Blaine!". TVLine. Mail.com Media. Retrieved September 29, 2011.
7.Jump up ^ Gustin, Grant (September 26, 2011). "Twitter / @grantgust: Early morning. First day on set. |#surreal". Retrieved September 30, 2011.
8.Jump up ^ "West Side Story Tour Announces Cast". BroadwayWorld.com. August 23, 2010. Retrieved September 30, 2011.
9.Jump up ^ Gustin, Grant (September 23, 2011). "Twitter / @grantgust: Premature last performance with #WSS tonight. It's been such an amazing year! I will miss you all so much.". Retrieved September 30, 2011.
10.Jump up ^ Tufts Beelzebubs (September 23, 2011). "Twitter / @TuftsBubs: @Rebecca_Nova @curtmega Last season, it was just us. This season we aren't involved, not sure who is.". Retrieved September 30, 2011.
11.Jump up ^ Mega, Curt (November 9, 2011). "Twitter / @curtmega: @DarrenInABox Jon Hall, Brock Baker and Luke Edgemon and some others :)". Retrieved November 9, 2011.
12.Jump up ^ "GLEE - Behind the Scenes with The Warblers". GleeOnFox. November 9, 2011. Retrieved November 9, 2011.
13.Jump up ^ Barnes, Dominic (October 3, 2011). "Twitter / @dominicmbarnes: @grantgust very impressive moves today sir :D see ya soon !!!". Retrieved October 17, 2011.
14.Jump up ^ Gustin, Grant (October 3, 2011). "Twitter / @grantgust: @dominicmbarnes Thanks bro! Fun stuff!!". Retrieved October 17, 2011.
15.Jump up ^ "The First Time". Fox. Retrieved November 9, 2011.
16.Jump up ^ Slezak, Michael (October 5, 2011). "Exclusive: Glee Casts Love Interest for Beiste!". TVLine. Mail.com Media. Retrieved October 17, 2011.
17.Jump up ^ "So November, So FOX" (Press release). Fox Broadcasting Company. October 17, 2011. Retrieved October 18, 2011.
18.^ Jump up to: a b Ausiello, Michael (November 3, 2011). "Glee Spoiler Alert: 8 Things You Must Know About Next Week's Sex-cellent Episode, 'The First Time'". TVLine. Mail.com Media. Retrieved November 3, 2011.
19.Jump up ^ McGinty, Damian (September 22, 2011). "Twitter / @damianmcginty: Today we finished episode 4, tomorrow, on to 5, which is a cracker!!". Retrieved October 27, 2011.
20.^ Jump up to: a b Stack, Tim (November 3, 2011). "'Glee' scoop: Why next week's sex-themed episode, 'The First Time,' is a game-changer". Entertainment Weekly (Time Inc.). Retrieved November 25, 2011.
21.Jump up ^ Votta, Rae (October 26, 2011). "Jenna Ushkowitz on 'Glee' Rumors, Ratings & Future: 'Tina's Time Will Come'". Billboard (Billboard.com). Retrieved October 26, 2011.
22.Jump up ^ Dos Santos, Kristin (October 10, 2011). "Spoiler Chat: Adorable Alert! We've Got Bones Season Premiere Baby Scoop!". Watch with Kristin. E! Online. Retrieved October 11, 2011.
23.Jump up ^ "GLEE - Sneak Peek: "The First Time"". GleeOnFox. November 4, 2011. Retrieved November 4, 2011.
24.Jump up ^ Seidman, Robert (November 9, 2011). "Tuesday Final Ratings: 'Dancing With the Stars' Adjusted Up; No Adjustment for 'New Girl'". TV by the Numbers. Retrieved November 10, 2011.
25.Jump up ^ Seidman, Robert (November 2, 2011). "Tuesday Final Ratings: 'Last Man Standing,' 'Glee,' 'New Girl' Adjusted Up; 'Body Of Proof' Adjusted Down". TV by the Numbers. Retrieved November 3, 2011.
26.Jump up ^ UK viewership data: "The First Time": "Weekly Top 10 Programmes (Sky 1, w/e 13 Nov 2011)". Broadcasters' Audience Research Board. Retrieved March 13, 2012.
"Pot o' Gold": "Weekly Top 10 Programmes (Sky 1, w/e 6 Nov 2011)". Broadcasters' Audience Research Board. Retrieved March 13, 2012.
27.Jump up ^ Australian viewership data: "The First Time": Dale, David (November 7, 2011). "THE RATINGS RACE: Week 46". Sydney Morning Herald (Fairfax Media). Retrieved November 25, 2011.
"Pot o' Gold": Dale, David (October 31, 2011). "THE RATINGS RACE: Week 45". Sydney Morning Herald (Fairfax Media). Retrieved November 12, 2011.
28.Jump up ^ Canadian viewership data: "The First Time": "Top Programs – Total Canada (English): November 7 - November 13, 2011". BBM Canada. Retrieved November 25, 2011.
"Pot o' Gold": "Top Programs – Total Canada (English): October 31 - November 6, 2011". BBM Canada. Retrieved November 12, 2011.
29.^ Jump up to: a b c Ausiello, Michael (November 3, 2011). "Glee Spoiler Alert: 8 Things You Must Know About Next Week's Sex-cellent Episode, 'The First Time'". TVLine (Mail.com Media). Retrieved November 23, 2011.
30.Jump up ^ Gonzalez, Sandra (November 6, 2011). "'Glee': Chris Colfer 'absolutely' expects opposition to sex-themed episode". Entertainment Weekly (Time Inc.). Retrieved November 7, 2011.
31.Jump up ^ Fisher, Luchina (November 8, 2011). "'Glee' Sparks Controversy With 'First Time' Episode". ABC News. Retrieved November 9, 2011.
32.^ Jump up to: a b c Hankinson, Bobby (November 8, 2011). "Glee: 'First Time' is a charm". Houston Chronicle (Jack Sweeney). Retrieved November 23, 2011.
33.^ Jump up to: a b c d e f g Poniewozik, James (November 9, 2011). "Glee Watch: The Birds and the Beiste". Time. Time Inc. Retrieved November 23, 2011.
34.^ Jump up to: a b c Flandez, Raymund (November 8, 2011). "'Glee', Season 3, Episode 3, 'The First Time': TV Recap". Speakeasy. The Wall Street Journal (Les Hinton). Retrieved November 23, 2011.
35.^ Jump up to: a b Fallon, Kevin (November 9, 2011). "How 'Glee' Got Teen Sex Right". The Atlantic. Atlantic Media Company. Retrieved November 23, 2011.
36.^ Jump up to: a b c d e Canning, Robert (November 9, 2011). "Glee: "The First Time" Review". IGN. News Corporation. Retrieved November 23, 2011.
37.^ Jump up to: a b c d e f g h i Futterman, Erica (November 9, 2011). "'Glee' Recap: 'The First Time' Tries Too Hard". Rolling Stone. Wenner Media LLC. Retrieved November 23, 2011.
38.^ Jump up to: a b c d e f Kubicek, John (November 8, 2011). "'Glee' Recap: The Agony of Sex". BuddyTV. Retrieved November 23, 2011.
39.Jump up ^ Reiter, Amy (November 9, 2011). "'Glee' recap: 'First Time' jitters, but love conquers all". Los Angeles Times (Tribune Company). Retrieved November 23, 2011.
40.^ Jump up to: a b c d e f Bell, Crystal (November 8, 2011). "'Glee' Season 3, Episode 5 Recap: Let's Talk About Sex". AOLTV. AOL. Retrieved November 23, 2011.
41.^ Jump up to: a b c d VanDerWerff, Todd (November 8, 2011). ""The First Time"". The A.V. Club. The Onion. Retrieved November 23, 2011.
42.^ Jump up to: a b c d e f Benigno, Anthony (November 8, 2011). "'Glee' Recap (Season 2, Episode 5): Hey Everybody, We’re All Gonna Get Laid!". The Faster Times. Sam Apple. Retrieved November 23, 2011.
43.^ Jump up to: a b c d e f g h West, Abby (November 9, 2011). "'Glee' recap: Let's Talk About Sex". Entertainment Weekly (Time Inc.). Retrieved November 23, 2011.
44.Jump up ^ Berk, Brett (November 9, 2011). "The Gay Guide to Glee, Season Three, Episode Five: "The First Time"". Vanity Fair. Condé Nast Publications. Retrieved November 23, 2011.
45.^ Jump up to: a b c d e f Hyman, Vicki (November 9, 2011). "'Glee' recap: Something's coming". The Star-Ledger. Retrieved November 23, 2011.
46.^ Jump up to: a b c d e Votta, Rae (November 9, 2011). "'Glee' Virgins Lose It, Subtly, in 'First Time' Episode". Billboard (Prometheus Global Media). Retrieved November 24, 2011.
47.^ Jump up to: a b c d Slezak, Michael (November 8, 2011). "Glee Recap: The Sex Factor". TVLine. Mail.com Media. Retrieved November 23, 2011.
48.Jump up ^ Sullivan, Kevin P. (November 9, 2011). "'Glee' Recap: 'The First Time'". Hollywood Crush. MTV Networks. Retrieved November 23, 2011.
49.Jump up ^ "Motion Picture Sound Editors Golden Reel Awards". Motion Picture Sound Editors. Retrieved February 9, 2012.
50.Jump up ^ Goldberg, Lesley (November 8, 2011). "'Glee' Recap: Everyone Is All Grown Up Now". The Hollywood Reporter (Prometheus Global Media). Retrieved November 23, 2011.
51.Jump up ^ Peak chart positions for season 3 singles in the United States: "Uptown Girl" Grein, Paul (November 16, 2011). "Week Ending Nov. 13, 2011. Songs: Taylor & Kenny". Chart Watch. Yahoo! Music. Retrieved November 16, 2011.
52.Jump up ^ "Canadian Hot 100: Week of November 26, 2011 (Biggest Jump)". Billboard (Prometheus Global Media). Retrieved November 17, 2011.
53.Jump up ^ "Glee: The Music, Volume 7 Available Tuesday 12/6". GleeTheMusic.com. Sony Music Entertainment. November 22, 2011. Retrieved November 24, 2011.
External links[edit]

Portal icon Glee portal
"The First Time" at Fox.com
"The First Time" at the Internet Movie Database
"The First Time" at TV.com

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Toshiko–Mariano Quartet (in West Side)

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  (Redirected from Toshiko – Mariano Quartet (in West Side))
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Toshiko - Mariano Quartet, West Side
 
Studio album by Toshiko Akiyoshi, Charlie Mariano

Released
1963
Recorded
Tokyo, 1963 March 30
Genre
Jazz
Label
Takt (Nippon Columbia)
Toshiko Akiyoshi, Charlie Mariano chronology

Live at Birdland
 (1961) Toshiko – Mariano Quartet, West Side
 (1963) East and West
 (1963)
 
Toshiko–Mariano Quartet (in West Side) is a jazz album by pianist Toshiko Akiyoshi and alto saxophonist Charlie Mariano and was recorded in Tokyo in 1963 and released on the Nippon Columbia/Takt label. A slightly different version titled East and West was released by Victor (Japan). This album is not to be confused with the 1961 Candid recording, The Toshiko–Mariano Quartet.
Track listing[edit]
LP side 1
1."Tonight" (Bernstein, Sondheim)
2."Something's Coming" (Bernstein, Sondheim)
3."America" (Bernstein, Sondheim)
4."Maria" (Bernstein, Sondheim)
LP side 2
1."Cool" (Bernstein, Sondheim)
2."Plaisir D'Amour" (Martini)
3."Malagueña" (Lecuona)
4."Oleo" (Rollins)
Personnel[edit]
Toshiko Akiyoshi – piano
Charlie Mariano – alto saxophone
Albert Heath – drums
Gene Cherico – bass
References / External links[edit]
Allmusic
NIPPON Columbia Records NS-1001



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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Stub icon This 1960s jazz album-related article is a stub. You can help Wikipedia by expanding it.
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Categories: 1963 albums
Charlie Mariano albums
Toshiko Akiyoshi albums
Nippon Columbia albums
1960s jazz album stubs


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West Side Story (Oscar Peterson Trio album)

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West Side Story
 
Studio album by Oscar Peterson Trio

Released
1962
Recorded
January 24–25, 1962
Genre
Jazz
Length
34:37
Label
Verve
Producer
Norman Granz
Oscar Peterson Trio chronology

The London House Sessions
 (1962) West Side Story: Oscar Peterson Trio
 (1962) Affinity
 (1962)
 

Professional ratings

Review scores

Source
Rating
Allmusic 3/5 stars [1]
West Side Story is a 1962 studio album by the Oscar Peterson and his trio.
The album featured seven interpretations of songs that had featured in the recent film, West Side Story.
Track listing[edit]
1."Something's Coming" – 3:57
2."Somewhere" – 5:38
3."Jet Song" – 7:49
4."Tonight" – 4:38
5."Maria" – 4:55
6."I Feel Pretty" – 4:30
7."Reprise" – 3:57
All songs composed by Leonard Bernstein and Stephen Sondheim.
Personnel[edit]
Oscar Peterson - piano
Ray Brown - double bass
Ed Thigpen - drums
References[edit]
1.Jump up ^ Allmusic review

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Oscar Peterson albums
1962 albums
Verve Records albums
Albums produced by Norman Granz



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Bernstein Plays Brubeck Plays Bernstein

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Bernstein Plays Brubeck Plays Bernstein
 
Studio album by The Dave Brubeck Quartet

Released
1961
Recorded
January 30, 1960-February 14, 1960
Genre
Cool jazz, West Coast jazz
Length
41:23
Label
Columbia
Dave Brubeck chronology

Near-Myth (OJC)
 (1961) Bernstein Plays Brubeck Plays Bernstein
 (1961) Time Further Out
 (1961)
 

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[1]
Bernstein Plays Brubeck Plays Bernstein is a 1961 album by The Dave Brubeck Quartet, and was inspired by the writing of Leonard Bernstein and Stephen Sondheim.[2]
The whole first side of the album, the composition “Dialogues for Jazz Combo and Orchestra”, was composed by Dave Brubeck’s brother, Howard Brubeck. The second side consists of arrangements of five of the best known Bernstein/Sondheim tracks from the musical West Side Story.

Contents
  [hide] 1 Overview 1.1 The Dialogues
2 Track listing 2.1 Side A
2.2 Side B
3 Personnel
4 External links and sources
5 References
Overview[edit]
The album started to take shape when “Dialogues for Jazz Combo and Orchestra” was premiered at a New York Philharmonic series on December 10, 11 and 13, 1959 – Leonard Bernstein conducting.[3] This was considered at the time to be an early, successful jazz/classical crossover (music) project – similar to those that had already been initiated by the Modern Jazz Quartet, Gunther Schuller and their peers in the study of what Schuller termed “Third Stream” music.
The Dialogues[edit]
“In this work an attempt is made to construct a score giving the orchestra an important part to play which adheres strictly to written notes, while the particular combination, or “combo,” of jazz instruments, is free to improvise on the material of the movement...” - Howard Brubeck (Original LP liner notes)
Track listing[edit]
On the original vinyl LP record:
Side A[edit]
1."Dialogues for Jazz Combo and Orchestra (Allegro)" – 6:55
2."Dialogues for Jazz Combo and Orchestra (Andante-Ballad)" – 5:13
3."Dialogues for Jazz Combo and Orchestra (Adagio-Ballad)" – 4:46
4."Dialogues for Jazz Combo and Orchestra (Allegro-Blues)" – 5:34
Side B[edit]
1."Maria (Bernstein, Sondheim)" – 3:16
2."I Feel Pretty (Bernstein, Sondheim)" – 5:06
3."Somewhere (Bernstein, Sondheim)" – 4:13
4."A Quiet Girl (Bernstein, Comden, Green)" – 2:23
5."Tonight (Bernstein, Sondheim)" – 3:48
Personnel[edit]
The “Dialogues for Jazz Combo and Orchestra” was composed by Howard Brubeck, Most other selections were composed by Leonard Bernstein and Stephen Sondheim.
MusicalDave Brubeck — piano
Paul Desmond — alto saxophone
Eugene Wright — double bass
Joe Morello — drums
Leonard Bernstein — conductor
New York Philharmonic
External links and sources[edit]
davebrubeck.com
Brubeck discography
References[edit]
1.Jump up ^ Allmusic review
2.Jump up ^ All Music Guide to Jazz, 2010 Edition.
3.Jump up ^ Columbia LP CL-1466 liner notes

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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Categories: 1961 albums
Dave Brubeck albums
Concept albums
Cool jazz albums
Columbia Records albums
Albums conducted by Leonard Bernstein


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West Side Story (Cal Tjader album)

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West Side Story
 
Studio album by Cal Tjader

Released
January 1, 1961
Recorded
October 18, 1960
Genre
Jazz
Label
Fantasy
3310 (mono) / 8054 (stereo)
Cal Tjader chronology

Demasiado Caliente
 (1960)
 Fantasy
 3309 / 8053 West Side Story
 (1961) Live
 and Direct
 (1961)
 Fantasy
 3315/ 8059
 
West Side Story is an album featuring American vibraphonist Cal Tjader, arranged by his pianist and musical director Clare Fischer. It was recorded in October 1960 and released on the Fantasy label in January 1961 as Fantasy 3310 / 8054 (reissued on LP in 1968, in stereo only, as Fantasy 8379). On July 30, 2002, Fantasy would reissue it – along with the 1962 LP Cal Tjader Plays Harold Arlen – on CD as Cal Tjader Plays Harold Arlen and West Side Story.
Notwithstanding their respective billing, West Side Story devotes relatively little space to Tjader's – or any – improvisation, and thus remains notable, more as an early showcase for Fischer's arranging and orchestral prowess, and as the first recorded document of the pair's longstanding association. [a]

Contents
  [hide] 1 Reception
2 Track listing
3 Personnel
4 Notes
5 References
Reception[edit]
In January 1961, having approached this West Side Story adaptation with few expectations, High Fidelity's reviewer was pleasantly surprised:

Just when it seemed that the idea of doing jazz versions of Broadway scores had been proven pointless, along come Tjader and arranger Clare Fischer with a brilliantly apt treatment of "West Side Story."[2]
Billboard concurred, citing Fischer's work in particular:

A highly polished and feelingful musical interpretation of "West Side Story" is the latest LP by Cal Tjader. The music has been specially arranged by Clare Fischer and his work is particularly in tune with the original.[3]
Reviewing the album's first single, "Maria," Billboard was even more effusive, especially regarding the writing: "An intriguing arrangement... with strings and vibes featured. Delightful harmonies are introduced here." Billboard's B-side assessment (of the uptempo, non-orchestral rendition of "Cool") was likewise framed primarily in terms of Fischer's involvement: "... this time, much more in a driving framework. Another good arrangement."[4]
The Washington Post's Tony Gieske also focused on Fischer's contribution, and in somewhat greater detail:[b]

"And on a remarkable new album, arranger Clare Fischer does at least three things that I wish Ramin and Robert Russell Bennett would listen to. First, he makes a nice little combo of tuba, French horn, flute and trombone, adding fresh colors to a Bernstein score which is itself one of the few which seems to attend in the least to how the orchestra sounds. Second, he makes the fiddles cool it with that fruity vibrato, opening them up so they sound like a few violins instead of a bad imitation of a lot of violins.

And in the third, he has a real rhythm section - Shelly Manne, Red Mitchell, Mongo and himself - instead of two bored automatons.[5]
Track listing[edit]
All compositions by Leonard Bernstein and Stephen Sondheim, except as indicated.1."Prologue" (Leonard Bernstein) / "The Jet Song" - 7:42
2."Something's Coming" - 5:04
3."Maria Interlude" - 1:28
4."Maria" - 2:48
5."Tonight" - 2:08
6."America" - 3:59
7."Cool - 3:51
8."One Hand, One Heart" - 1:50
9."I Feel Pretty" / "Somewhere" - 6:39
Personnel[edit]
Cal Tjader - vibraphone,
Clare Fischer - piano, celeste
Lonnie Hewitt - piano
George Roberts - trombone
Red Callender - tuba
Vincent D'Rosa, James Decker,
 Richard Perissi - French horns
Paul Horn - flute
Gerald Vinci, Marshall Sosson, Herman Clebanoff, Amerigo Merino, Leonard Malarsky,
 Robert Barene, Jack L. Pepper, Henry Sugar, Alvin Dinkin - violins
Virginia Majewski - viola, VIctor Gottlieb - cello
Carol Gotthoffer - harp
Red Mitchell, Victor Venegas - bass
Shelly Manne, Milt Holland - drums
Mongo Santamaria - conga
Willie Bobo - drums, timbales
Notes[edit]
a.Jump up ^ Or, more accurately, the first such document made public. While it's clear the Harold Arlen LP (3330 / 8072) was not released until January 1962,[1] if the 2002 CD reissue notes can be believed, it was actually recorded in June 1960, well before WSS. Fischer himself did not play on the date; his participation was confined to arranging the five orchestral tracks which comprised the LP's second side.
b.Jump up ^ Gieske also singles out Fischer's groundbreaking work on A Portrait of Duke Eliington and, in somewhat greater detail, Fischer's five tracks on Cal Tjader Plays Harold Arlen.
References[edit]
1.Jump up ^ Fantasy Album Discography, Part 3. Both Sides Now Publications. Retrieved 2013-02-07. See also: "Special Merit Albums: Jazz". Billboard. February 17, 1962. Retrieved 2013-02-07.
Gieske, Tony. "New Arrangements are Long Overdue". The Washington Post. January 24, 1962. "Fischer's arrangements for one side of Cal Tjader Plays Harold Arlen (Fantasy 3330) are marked by an unashamed eclecticism."
2.Jump up ^ "Cal Tjader: 'West Side Story'". High Fidelity. Vol. 11, No. 1. January 1961. Retrieved 2013-02-06.
3.Jump up ^ "Reviews and Ratings of New Albums: Jazz LP's - ✭✭✭✭ Strong Sales Potential". Billboard. December 31, 1960. Retrieved 2013-02-06.
4.Jump up ^ "Reviews of New Pop Records; ✭✭✭ Good Sales Potential: Jazz". Billboard. January 9, 1961. Retrieved 2013-02-07.
5.Jump up ^ Gieske, Tony. "Accent on Jazz: Some Music Is Only Fit For That Pit". The Washington Post. January 15, 1961.

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: 1960 albums
Albums arranged by Clare Fischer
Cal Tjader albums
Fantasy Records albums
Orchestral jazz albums


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West Side Story (soundtrack)

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search

West Side Story
 
Soundtrack album by Various

Released
October 1961
Recorded
1960-1961
Genre
soundtrack
Length
75:42
Label
Sony Classical
Producer
Didier Deutsch

Professional ratings

Review scores

Source
Rating
Allmusic 5/5 stars[1]
West Side Story is the soundtrack to the 1961 film West Side Story. Released in 1961, the soundtrack spent 54 weeks at No. 1 on Billboard's album charts, giving it the longest run at No. 1 of any album in history,[2] although some lists instead credit Michael Jackson's Thriller, on the grounds that West Side Story was listed on a chart for stereo albums only at a time when many albums were recorded in mono.[3] In 1961, it won a Grammy award for "Best Sound Track Album – Original Cast". In the United States, it was the best-selling album of the 1960s,[4] certifying three times platinum by the RIAA on November 21, 1986.
Though the album was released just a few years after the release of the original broadway cast recording, it is according to Broadway Babies preferred by some to the earlier version both sentimentally, as the film succeeded in establishing the musical as a "popular masterpiece", and musically, as it contains "beefier orchestration".[5]

Contents
  [hide] 1 Dubbing
2 Track listing 2.1 CD version
2.2 Original Lp version
2.3 Side 1
2.4 Side 2
3 Chart positions
4 Personnel 4.1 Performance
4.2 Production
5 References
Dubbing[edit]
In her autobiography, I Could Have Sung All Night, Marni Nixon spoke of singing the role of Maria and of her observations of some of the other singers whose voices were dubbed into the film. According to Nixon, very little of the singing on the soundtrack was contributed by the on-screen top-billing stars of the film; while George Chakiris provided vocals for the character of Bernardo, Nixon claims, even Russ Tamblyn's voice was dubbed over by Tucker Smith because Tamblyn had contractual obligations with MGM Records.[6] (While the film was released by United Artists, the soundtrack album was produced by Columbia Records as part of rights it acquired in producing the Broadway cast album.)[7] Final determination of which voices would be used and how much for the film's songs was left to producer Saul Chaplin, who at various times told Nixon that her voice would be used to supplement or extend that of actress Natalie Wood or to replace it altogether.[6] After filming was complete, Nixon recorded several songs while watching film loops so that she could synchronize her voice to Wood's action.[8] Nixon also dubbed several lines for Wood and contributed co-dubber Betty Wand's part to the song now called "Tonight".[9] Although it was not industry standard at the time, Nixon arranged to receive a small percentage of the royalties for sales of the soundtrack, which, as she did not receive credit for her performance on the album, she indicates helped "salve any wounds".[10]
Track listing[edit]
All music by Leonard Bernstein and lyrics by Stephen Sondheim. Vocal performers listed parenthetically after song title.
CD version[edit]
1."Overture" – 4:39
2."Prologue" – 6:37
3."Jet Song" (Tucker Smith, Jets) – 2:06
4."Something's Coming" (Jim Bryant) – 2:32
5."Dance at the Gym" (Blues, Promenade, Mambo, Pas de Deux, film dialogue, and Jump) – 9:24[11]
6."Maria" (Bryant) – 2:34
7."America" (Rita Moreno, George Chakiris, Sharks & Girls) – 4:59
8."Tonight" (Jim Bryant, Marni Nixon) – 5:43
9."Gee, Officer Krupke" (Russ Tamblyn, Jets) – 4:14
10."Intermission" – 1:30[12]
11."I Feel Pretty" (Nixon, Yvonne Othon, Suzie Kaye) – 3:35
12."One Hand, One Heart" (Bryant, Nixon) – 3:02
13."Quintet" (Bryant, Nixon, Moreno, Jets, Sharks. "The counterpoint section of Anita's vocals are performed here by Nixon") – 3:22
14."The Rumble" – 2:39
15."Somewhere" (Bryant, Nixon) – 2:03
16."Cool" (Tucker Smith, Jets) – 4:21
17."A Boy Like That/I Have a Love" (Betty Wand, Nixon) – 4:28
18."Finale" (Nixon, Bryant) – 4:20
19."End Credits (Instrumental) - 5:09
Original Lp version[edit]
Side 1[edit]
1."Prologue" - 5:39
2."Jet Song" - 2:11
3."Something's Coming" - 2:38
4."Dance at the Gym" (Blues, Promenade, and Jump) - 3:37
5."Maria" - 2:40
6."America" - 5:05
7."Tonight" - 3:35
Side 2[edit]
1."Gee, Officer Krupke" - 4:11
2."I Feel Pretty" - 2:50
3."One Hand, One Heart" - 2:03
4."Quintet" - 3:27
5."The Rumble" - 2:32
6."Cool" - 4:27
7."A Boy Like That / I Have a Love" - 4:34
8."Somewhere" - 2:03
Chart positions[edit]

Year
Label & number
Chart
Position
1962 Columbia OL 5670 (Mono) / OS 2070 (Stereo) Billboard Pop Albums (Billboard 200) (mono and stereo) 1
 UK Albums Chart[13]
1963 Columbia OL 5670 (Mono) / OS 2070 (Stereo) Billboard Pop Albums (Billboard 200) (mono and stereo)
 UK Albums Chart[13]
Personnel[edit]
Performance[edit]
Richard Beymer – performer
Jim Bryant – performer
George Chakiris – performer
The Jets – performers
Suzie Kaye – performer
Jo Anne Miya – performer
Rita Moreno – performer
Marni Nixon – performer
Yvonne Othon – performer
Sharks – performers
Tucker Smith – performer
Russ Tamblyn – performer
Betty Wand – performer
Natalie Wood – performer
Production[edit]
Mark Cetts – engineer
Saul Chaplin – musical director, assistant producer
Didier C. Deutsch – producer
John Green – conductor, musical director
Roy Hemming – liner notes
Bill Ivie – engineer
Irwin Kostal – musical director, orchestrator
Ernest Lehman – screenplay
Boris Leven – production design
Sid Ramin – musical director, orchestrator
Jerome Robbins – director, choreographer
Robert Wise – director
References[edit]
1.Jump up ^ Allmusic review
2.Jump up ^ West Side Story (soundtrack) at AllMusic
3.Jump up ^ Ash, Russell (2006). The Top 10 of Everything. Sterling Publishing. p. 112. ISBN 0-600-61557-X.
4.Jump up ^ Simpson, Paul (2003). The Rough Guide to Cult Pop. Rough Guides. p. 181. ISBN 1-84353-229-8.
5.Jump up ^ Mordden, Ethan (1983). Broadway babies: the people who made the American musical. Oxford University Press. p. 225. ISBN 0-19-505425-3.
6.^ Jump up to: a b Nixon, Marni; Stephen Cole and Marilyn Horne (2006). I Could Have Sung All Night. Billboard Books. p. 133. ISBN 0-8230-8365-9..
7.Jump up ^ Krasilovsky, M. William; Sidney Shemel and John M. Gross (2003). This Business of Music: The Definitive Guide to the Music Industry. Watson-Guptill. p. 232. ISBN 0-8230-7728-4.
8.Jump up ^ Nixon, 135-136.
9.Jump up ^ Nixon, 136.
10.Jump up ^ Nixon, 137.
11.Jump up ^ This song was released in a shorter three-part version on original lp pressings, omitting the "Mambo" and "Pas de Deux"; the complete five-part version was added for cd releases.
12.Jump up ^ This song was not present on original lp pressings, but was added for the 2004 cd re-release.
13.^ Jump up to: a b "Chart Stats - Original Soundtrack - West Side Story". chartstats.com. Archived from the original on 21 July 2012. Retrieved 2 June 2011.
Preceded by
Blue Hawaii (soundtrack) by Elvis Presley Billboard 200 number-one album (mono)
 May 5, 1962 - June 22, 1962
 September 29, 1962 - October 19, 1962
 April 20, 1963 - May 3, 1963 Succeeded by
Modern Sounds in Country and Western Music
 by Ray Charles
Preceded by
Breakfast at Tiffany's (soundtrack) by Henry Mancini Billboard 200 number-one album (stereo)
 May 5, 1962 - June 22, 1962
 July 7, 1962 - March 8, 1963
 March 16, 1963 - May 3, 1963
 July 20, 1963 - August 16, 1963 Succeeded by
Modern Sounds in Country and Western Music
 by Ray Charles
Preceded by
Blue Hawaii by Elvis Presley
Pot Luck by Elvis Presley
Pot Luck by Elvis Presley
The Best of Ball, Barber & Bilk by Kenny Ball, Chris Barber & Acker Bilk
Out of the Shadows by The Shadows
On Stage with the George Mitchell Minstrels by George Mitchell Minstrels
The Black and White Minstrel Show by George Mitchell Minstrels UK Albums Chart number-one album
 23 June 1962 - 28 July 1962
 1 September 1962 - 8 September 1962
 15 September 1962 - 22 September 1962
 29 September 1962 - 20 October 1962
 17 November 1962 - 24 November 1962
 15 December 1962 - 22 December 1962
 12 January 1963 - 19 January 1963 Succeeded by
Pot Luck by Elvis Presley
Pot Luck by Elvis Presley
The Best of Ball, Barber & Bilk by Kenny Ball, Chris Barber & Acker Bilk
The Best of Ball, Barber & Bilk by Kenny Ball, Chris Barber & Acker Bilk
Out of the Shadows by The Shadows
Out of the Shadows by The Shadows
Out of the Shadows by The Shadows

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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Categories: 1961 soundtracks
Film soundtracks
Sony Classical soundtracks
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Albums conducted by Johnny Green


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West Side Story (André Previn album)

From Wikipedia, the free encyclopedia
 
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West Side Story
 
Studio album by André Previn

Released
1959
Recorded
August 24–25, 1959
Contemporary's Studio, Los Angeles
Genre
Jazz
Length
38:16
Label
Contemporary
M 3572
Producer
Lester Koenig
André Previn chronology

King Size!
 (1959) West Side Story
 (1959) Like Previn!
 (1960)
 
West Side Story is a jazz album by pianist André Previn and his trio. Previn, along with drummer Shelly Manne and bassist Red Mitchell, chose eight compositions from the original score of the musical and re-arranged them in a jazz style.
Track listing[edit]
Original music by Leonard Bernstein
1."Something's Coming" - 2:37
2."Jet Song" - 4:48
3."Tonight" - 5:24
4."I Feel Pretty" - 6:47
5."Gee, Officer Krupke!" - 4:55
6."Cool" - 3:21
7."Maria" - 5:30
8."America" - 4:51
Personnel[edit]
André Previn - piano
Shelly Manne - drums
Red Mitchell - double-bass

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 
 


Stub icon This 1950s jazz album-related article is a stub. You can help Wikipedia by expanding it.
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Categories: 1959 albums
André Previn albums
Contemporary Records albums
1950s jazz album stubs


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West Side Story (Original Broadway Cast)

From Wikipedia, the free encyclopedia
 
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West Side Story
 
Cast recording by the original Broadway cast of West Side Story

Released
1957
Recorded
9/29/1957
CBS 30th Street Studio, New York City
Genre
cast recording
Length
78:04
Label
Columbia
Producer
Goddard Lieberson
 Sylvia Drulie

Professional ratings

Review scores

Source
Rating
Allmusic 5/5 stars[1]
West Side Story (Original Broadway Cast) is the 1957 recording of a Broadway production of the musical West Side Story. Recorded 3 days after the show opened at the Winter Garden Theatre, the recording was released in October 1957 in both mono and stereo formats. In 1962, the album reached #5 on Billboard's "Pop Album" chart. It certified "gold" by the RIAA on January 12, 1962. The album was reissued in 1973 and made its first appearance on CD in 1986. A 1997 remastered edition includes nine additional tracks of Leonard Bernstein conducting the New York Philharmonic through symphonic versions of the songs at the Manhattan Center on March 6, 1961.[2]
It was recorded at the CBS 30th Street Studio in New York City.

Contents
  [hide] 1 Track listing 1.1 Bonus tracks
2 Personnel 2.1 Performance
2.2 Production
2.3 Release history
3 References
Track listing[edit]
All tracks by Leonard Bernstein and Stephen Sondheim.
1."Prologue" – 3:50
2."Jet Song" – 2:10
3."Something's Coming" – 2:40
4."The Dance at the Gym" – 3:06
5."Maria" – 2:40
6."Tonight" – 3:53
7."America" – 4:35
8."Cool" – 4:01
9."One Hand, One Heart" – 3:03
10."Tonight (Quintet and Chorus)" – 3:40
11."The Rumble" – 2:45
12."I Feel Pretty" – 2:50
13."Somewhere (Ballet)" – 7:35
14."Gee, Officer Krupke" – 4:05
15."A Boy Like That/I Have a Love" – 4:18
16."Finale" – 2:02
Bonus tracks[edit]
17."Prologue (Allegro Moderato)" – 4:07
18."Somewhere (Adagio)" – 3:51
19."Scherzo (Vivace E Leggiero)" – 1:17
20."Mambo (Meno Presto)" – 2:14
21."Cha-Cha (Andantino con Grazia)" – :53
22."Meeting Scene (Meno Mosso)" – :47
23."Cool Fugue (Allegretto)" – 3:03
24."Rumble (Molto Allegro)" – 1:52
25."Finale (Adagio)" – 2:47
Personnel[edit]
Performance[edit]
Jon Eggert – cast
Leonard Bernstein Orchestra – orchestration
 Hank Brunjes – cast
 Mickey Calin – cast
 Erne Castaldo – cast
 Martin Charnin – cast
 Wilma Curley – cast
Template:Grover Dale – cast
 Carole d'Andrea – cast
 Al de Sio – cast
 Marilyn d'Honau – cast
 Gene Gavin – cast
 Frank Green – cast
 Lowell Harris – cast
Larry Kert – cast  Irwin Kostal Orchestra – orchestration
Carol Lawrence – cast
 Ronnie Lee – cast
 Ken Leroy – cast
 George Marcy – cast
 Tony Mordente – cast
 Jack Murray – cast
 Jay Norman – cast
 Julie Oser – cast
Chita Rivera – cast
 Eddie Roll – cast
 Nanette Rosen – cast
 Jamie Sanchez – cast
 Noel Schwartz – cast
Production[edit]
Sylvia Drulie – associate producer
Gerald Freedman – assistant director
Peter Gennaro – choreographer
Max Goberman – director, musical director
Jon Eggert – arranger
Howard Jeffrey – assistant
Goddard Lieberson – producer
Harold Prince – arranger
Jean Rosenthal – lighting
Irene Sharaff – costume design
Wallace Siebert – assistant
Release history[edit]
Columbia LP: OS 2001 (stereo) also OL 5230 (mono)—issued 1957
Columbia LP: S 32603—issued 1973
Columbia CD: CK 32603—issued 1986
Columbia Broadway Masterworks CD: SK 60724—issued 1997
Hallmark CD: 709782—issued 2010
References[edit]
1.Jump up ^ Allmusic review
2.Jump up ^ West Side Story The Stephen Sondheim Reference Guide. Accessed September 24, 2007.

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Cast recordings
1957 soundtracks
Theatre soundtracks
Columbia Records soundtracks
English-language soundtracks
Albums recorded at CBS 30th Street Studio
Albums produced by Goddard Lieberson
Albums conducted by Leonard Bernstein


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A Boy Like That

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search

"A Boy Like That" is a song from the 1957 Broadway musical West Side Story, with music by Leonard Bernstein and lyrics by Stephen Sondheim. In the musical, the song is paired with "I Have a Love" and is sung by the characters Anita and Maria. For the original Broadway cast recording, the song was performed by Chita Rivera (Anita) and Carol Lawrence (Maria). In the 1960 film version the roles were played by Rita Moreno and Natalie Wood, but the songs were dubbed by Betty Wand and Marni Nixon (as both Anita and Maria).

Contents
  [hide] 1 Selena version 1.1 Track listing
2 References
3 External links
Selena version[edit]

"A Boy Like That"
 
Single by Selena

from the album Selena

Released
April 2, 1996
Format
CD, Promo single
Recorded
1995
Genre
Latin
Label
EMI
Writer(s)
Leonard Bernstein
Stephen Sondheim
Producer
Abraham Quintanilla Jr
Selena singles chronology

"God's Child"
 (1995) "A Boy Like That"
 (1997) "Last Dance/The Hustle/On The Radio"
 (1997)
 
In 1995 Selena recorded "A Boy Like That" for the various-artists compilation album The Songs of West Side Story, which was a benefit for AIDS Project Los Angeles.[1] After Selena's death, RCA Victor released a remix album with four versions of "A Boy Like That", all remixed by Tony Moran. The song was also included on the soundtrack album Selena. David Pack produced the track and Sheila E. performed percussion. Additional vocals were provided by Michelle Weeks, Godwin, and Nikki Richards.
Track listing[edit]
US remixes
1.A Boy Like That (Radio Edit 1) 4:06
2.A Boy Like That (Radio Edit 2) 4:06
3.A Boy Like That (Original Edit) 3:28
4.A Boy Like That (Extended Remix) 8:14
5.A Boy Like That (Guitar Mix) 4:54
6.A Boy Like That (Dub Mix) 8:40
7.A Boy Like That (Tribal Mix) 7:13
8.A Boy Like That (Original Full Version) 5:51
References[edit]
1.Jump up ^ By Jennifer  Sep 11, 2006 (2006-09-11). "The Songs Of West Side Story - Various Artists - CD - Reviews & Prices @ Yahoo! Shopping". Shopping.yahoo.com. Retrieved 2012-01-17.
External links[edit]
Full lyrics of this song at MetroLyrics

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: 1957 songs
1997 singles
Selena songs
Songs from West Side Story
Songs written by Stephen Sondheim
Songs with music by Leonard Bernstein
Songs released posthumously

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Somewhere (song)

From Wikipedia, the free encyclopedia
 
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This article is about the song from West Side Story. For the Shanice song, see Somewhere (Shanice song). For other uses, see Somewhere (disambiguation).
"Somewhere" is a song from the 1957 Broadway musical West Side Story that was made into a film in 1961. The music is composed by Leonard Bernstein with lyrics by Stephen Sondheim, and takes a phrase from the slow movement of Beethoven's 'Emperor' Piano Concerto, which forms the start of the melody,[1] and also a longer phrase from the main theme of Pyotr Tchaikovsky's Swan Lake.

Contents
  [hide] 1 The song in the stage musical
2 The song in the 1961 film
3 P. J. Proby version
4 The Supremes' version
5 Barbra Streisand version
6 Phil Collins version 6.1 Charts
7 Pet Shop Boys version 7.1 Track listings
7.2 Chart positions
8 Other cover versions
9 In popular culture
10 References
11 External links
The song in the stage musical[edit]
In the stage musical, the song appears in the second act of the show during the Somewhere Ballet. It is performed by an off-stage soprano and is later reprised by the entire company. In the original Broadway production, "Somewhere" was sung by Reri Grist who played the role of Consuela.
At the end of the show, when Tony is shot, Maria sings the first few lines of the song as he dies in her arms.
In 1957, a recording was released as West Side Story (Original Broadway Cast).
The song in the 1961 film[edit]
In the 1961 film, the song occurs at a pivotal point, after the rumble in which former Jets leader Tony (Richard Beymer) has stabbed his girlfriend's brother, Bernardo (George Chakiris). Having nowhere else to go, Tony runs to his girlfriend, Maria (Natalie Wood). Maria has just been told of her brother's death and who killed him. When Tony comes to her room through the balcony window, Maria, in shock, pounds against his chest.
Realizing in spite of her anger that she still loves Tony, Maria begs him to hold her. After Maria cries out, "It's not us...it's everything around us." Tony replies, "Then I'll take you away, where nothing can get to us." He then begins singing "Somewhere" to her. His comforting voice draws her in and it becomes a duet of hope that their love will survive "somehow, someday, somewhere."
As in the stage show, Maria sings the first few lines of the song as Tony dies in her arms.
"Somewhere" is the only track that is out of sequence on the original soundtrack album as it is the last track on Side 2. This is rectified on the CD as "Somewhere" is correctly placed in sequence to the film between "The Rumble" and "Cool."
P. J. Proby version[edit]
In 1964, P. J. Proby released his version of "Somewhere" which reached #6 on the British singles chart and #7 on the Australian singles chart. The song also charted well in various European countries.

Chart positions
Peak
 position
UK Singles Chart 6
Australian Singles Chart 7
The Supremes' version[edit]
In 1965, the Supremes recorded the song for their album, There's a Place for Us, though it went unreleased until 2004. They also used it for their debut appearance at the Copacabana nightclub in New York City and it eventually became a fixture of their nightclub acts. They also sang the song on The Ed Sullivan Show and The Hollywood Palace. In contrast to the original melody, a special dramatic monologue was incorporated, which was frequently changed in conjunction with changes in the group as well as the country's turmoil in the late 1960s.
In the aftermath of the shooting of Martin Luther King, Jr., the monologue was changed to reflect King's famous "I Have a Dream" speech. When the Supremes appeared on the The Tonight Show Starring Johnny Carson the day after King had been murdered, lead singer Diana Ross was so overcome with emotion that she practically stumbled through the speech, but got an extraordinary ovation from the studio audience. It would once again be nationally televised several months later that year when the group paired up with the Temptations for an NBC television special, TCB. The monolgue for that special went as follows:
"Yes, there's a place for each of us, Where love is like a passion, burning like a fire, Let our efforts be as determined as that of Dr. Martin Luther King, Who had a dream that all God's children, Black men, white men, Jews, Gentiles, Protestants, and Catholics, Could join hands and sing that spiritual of all: "Free at last! Free at last! Thank God almighty, we are free at last!"
Barbra Streisand version[edit]
In 1985, Barbra Streisand released a version of "Somewhere" as a single off the Grammy Award-winning The Broadway Album, charting at #43 in the US (on the Billboard Hot 100) and #88 in the UK.[2] In 2011, a duet was produced using scenes from Streisand's version while Jackie Evancho performed live with David Foster at the Ringling Museum of Art.
Phil Collins version[edit]

"Somewhere"
 
Single by Phil Collins

from the album The Songs of West Side Story

Released
1996
Format
CD, 12"
Genre
Rock
Length
4:02
Label
Atlantic, Virgin, WEA
Writer(s)
Leonard Bernstein, Stephen Sondheim
Producer
Phil Collins
Phil Collins singles chronology

"We Wait and We Wonder"
 (1994) "Somewhere"
 (1996) "Dance into the Light"
 (1996)
 
British singer Phil Collins later covered the song in 1996 for the West Side Story cover album The Songs of West Side Story.
Charts[edit]

Chart (1993)
Peak
 position
U.S. Billboard Hot Adult Contemporary Tracks 7
Pet Shop Boys version[edit]

"Somewhere"
 
Single by Pet Shop Boys

from the album Bilingual Special Edition

B-side
"The view from your balcony"
Released
June 23, 1997
Format
CD single, 12"
Recorded
1995
Genre
Dance-pop
Length
4:42
Label
Parlophone / Atlantic
Writer(s)
Leonard Bernstein, Stephen Sondheim
Producer
Pet Shop Boys
Pet Shop Boys singles chronology

"A Red Letter Day"
 (1997) "Somewhere"
 (1997) "I Don't Know What You Want But I Can't Give It Any More"
 (1999)
 
"Somewhere" was released as a single by the British music group Pet Shop Boys in 1997 to promote their "Somewhere" residency at the Savoy Theatre in London, which was named after the song, and to promote a repackage of Bilingual.
The single was another top 10 hit for the group, peaking at #9. The single also peaked at #25 on the Billboard Bubbling Under Hot 100 Singles, equaling #125 on the main United States Billboard Hot 100 chart and peaked at #19 on the U.S. Hot Dance Club Play chart. In the U.S., the song was released as a double A-side with "A Red Letter Day".
The Pet Shop Boys' version also uses elements of another West Side Story song, "I Feel Pretty", and the album version uses elements of "One Hand, One Heart" spoken by Chris Lowe.
Track listings[edit]
UK CD single 1 (Parlophone)1."Somewhere"
2."The view from your balcony"
3."To step aside" (Ralphi's Old School Dub)
4."Somewhere" (Forthright Vocal Mix)
UK CD single 2 (Parlophone)1."Somewhere" (Orchestral version)
2."Disco potential"
3."Somewhere" (Trouser Enthusiasts Mix)
4."Somewhere" (Forthright Dub)
UK cassette single1."Somewhere"
2."Somewhere" (Orchestral version)
3."The view from your balcony"
Chart positions[edit]

Chart positions
Peak
 position
UK Singles Chart 9
Swedish Singles Chart 21
German Singles Chart 70
U.S. Billboard Hot Dance Club Play 19
U.S. Billboard Bubbling Under Hot 100 Singles 25[3]
Other cover versions[edit]
Andy Williams released a version in 1966 on his album, The Shadow of Your Smile.
Aretha Franklin
Bobby Darin
Caterina Valente
Candice Glover
Cannonball Adderley from the album "Great Love Songs"
Celine Dion
Celtic Woman
Charlotte Church from the album Enchantment (2001)
Cher
The Dartmouth Aires use it as their signature song
Dave Brubeck recorded the song on his 1962 album Music From West Side Story.
Dave Koz covered his version on his standards album At The Movies. The song features R&B vocalist Anita Baker.[4][5]
Devo recorded the song live on the 1988 album Now It Can Be Told: DEVO at the Palace as a part of a musical suite, which is the finale of the album.
Donald Braswell II recorded this song on his 2007 album New Chapter.
Down Beat released a version on the album Games by the University of Northern Iowa Jazz Band One.
Faryl Smith on her 2009 self-titled debut album.
Frankie Lymon released a version as an A-side on a Columbia single in 1964
Frida Boccara recorded "Un Pays Pour Nous" (French version of the song) on her albums: Un Jour, Un Enfant (1969), Place des Arts '71 (1971, live in Montreal, double LP Philips and CD 2006), An Evening with Frida Boccara (1978, Live at Dallas Brooks Hall, Melbourne - 2 LP Philips and Les grandes Années 1972–1988, 3 CD Marianne Mélodie).
Ian McCulloch
Il Divo
Karel Gott
Jane McDonald
Jennifer Hudson
Johnny Mathis
Josh Groban
Julian Lloyd Webber recorded the song on the 1986 album Travels with My Cello, Volume 2.
Julie Andrews
Katharine McPhee
Katherine Jenkins
Kimberley Walsh
Kerry Ellis and Ramin Karimloo performed a duet at Ellis' special Friday Night is Music Night
Kylie Minogue
La Toya London
Len Barry
Leona Lewis
Marianne Faithfull and Jarvis Cocker performed a duet of the song on her album Easy Come, Easy Go retitled as "Somewhere (A Place for Us)."
Matt Monro
Michael Crawford released a version on his album Songs from the Stage and Screen.
Oscar Peterson
Renée Fleming and Alfie Boe performed the song on The Diamond Jubilee Concert in 2012.
Rick Astley recorded the song on his 2005 album Portrait.
Shelby Corcoran (Idina Menzel) and Rachel Berry (Lea Michele) in the 2011 Glee episode "I Am Unicorn".[6]
Tom Waits recorded the song on his album Blue Valentine.
We Five on their 1967 album, Make Someone Happy.[7]
Zinatra
In popular culture[edit]
Christopher Stone performed the song on the Britain's Got Talent series 4 Final.
Julian Smith on the 2009 finale of Britain's Got Talent.
Lea Michele and Idina Menzel perform the song as a duet in the Season 3 episode I Am Unicorn of the musical TV series Glee.
Rowetta Satchell performed the song on the first series of The X Factor.
Rhydian Roberts performed the song on the fourth series of The X Factor.
Stacey Solomon performed the song on the sixth series of The X Factor.
Samantha Barks performed the song in Week Three of I'd Do Anything.
Candice Glover performed the song on season 12 of American Idol.
References[edit]
1.Jump up ^ Ross, Alex. The Rest is Noise: Listening to the Twentieth Century. Fourth Estate. ISBN 978-1-84115-475-6.
2.Jump up ^ Barbra Streisand Archives: Records/The Broadway Album.
3.Jump up ^ Equaling #125 on the main Billboard Hot 100.
4.Jump up ^ "At The Movies overview". Allmusic.com.
5.Jump up ^ "Dave Koz - At The Movies". Allmusic.com.
6.Jump up ^ Grein, Paul (October 5, 2011). "Week Ending Oct. 2, 2011. Songs: Gone But Not Forgotten". Chart Watch. Yahoo! Music. Retrieved October 6, 2011.
7.Jump up ^ We Five, Make Someone Happy Retrieved March 5, 2012.
External links[edit]
Full lyrics of this song at MetroLyrics

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Tonight Quintet

From Wikipedia, the free encyclopedia
 
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Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2008)
The "Tonight Quintet" is a song from the musical West Side Story, with music by Leonard Bernstein and lyrics by Stephen Sondheim.
The song is used to show anticipation to the coming night, which will end up being the climactic part of the play. The "Tonight Quintet" is sung in five parts: the Jets, the Sharks, Tony, Maria, and Anita. The song begins with the parts sung in turn, and then overlapping and building to the final line, "Tonight," sung by the ensemble with multiple harmonies.
The Jets and the Sharks are rival gangs anticipating the "rumble" which will settle a territorial feud that has been brewing between them for some time now. Both groups are confident that the fight will end in their favour.
Anita sings of her anticipation for her boyfriend, Bernardo, the leader of the Sharks, to return after the rumble. She knows that he is usually riled up after a fight like this and she looks forward to having some intimate time together and "getting her kicks."
Tony, a member of the Jets, has fallen in love with Maria, Bernardo's sister. Upon Maria's request, he plans to go to the rumble and stop the fight. Maria and Tony sing about their eagerness to see each other after Tony returns; they believe that after Tony stops the fight, the tension surrounding their forbidden love will finally vanish and the night will be "endless." They are frustrated by the seemingly slow place of the present day while they are anticipating the coming night.
In the 1961 film version of West Side Story, the lyrics to this song are changed. Instead of "He'll walk in hot and tired, so what / No matter if he's tired, as long as he's hot," Anita (played by Rita Moreno) sings, "He'll walk in hot and tired, poor dear / No matter if he's tired, as long as he's here."
Part of the song was parodied in a promo to the 2005 WWE Royal Rumble event where the Superstars from Raw and Smackdown gather for a rumble until Vince McMahon wakes up from the dream sequence and says that's not the rumble he had in mind.

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Songs with music by Leonard Bernstein
Songs written by Stephen Sondheim
1956 songs
Songs from West Side Story



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Cool (West Side Story song)

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  (Redirected from Cool (Leonard Bernstein song))
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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)
"Cool" is a song from the musical West Side Story. Leonard Bernstein composed the music and Stephen Sondheim wrote the lyrics.
Context[edit]
In West Side Story, the song is sung by Riff before the Rumble meeting. The Jets are itching to fight with the Sharks, but Riff tells them to wait for the rumble.
In the movie, the song is placed after the rumble where Riff dies. The Jets are saddened by Riff's death and want revenge. When Action and A-rab start fighting, a man throws an object at them and tells them to go home. Action loses it and threatens the man, forcing the Jets to bring him into a warehouse. Ice (Tucker Smith), a character created for the film who is now their leader, has had it. He tells them they will have to play it cool in order to get through this.
This song is known for its fugal treatment of a jazz figure, described by one writer as "possibly the most complex instrumental music heard on Broadway to date".[1]
Use in popular culture[edit]
In 2011, actor Harry Shum Jr. performed the song, as his charcater Mike Chang from TV series Glee, in the third episode of season 3, "Asian F" (aired on October 4).[2]
An episode of Animaniacs features a parody version as "Coo Bird" sung by Bobby of The Goodfeathers. The song is also parodied in the Flight of the Conchords episode The Tough Brets with the song "Stay Cool, Bret".
References[edit]
1.Jump up ^ Nigel Simeone, Leonard Bernstein, West Side story (Ashgate Publishing, 2009), ISBN 978-0754664840, pp. 84, 102. Excerpts available at Google Books.
2.Jump up ^ http://www.masslive.com/television/index.ssf/2011/10/glee_mike_changs_asian_f_earns.html

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Songs with music by Leonard Bernstein
Songs written by Stephen Sondheim
Songs from West Side Story
1957 songs



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America (West Side Story song)

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"America" is a well-known song from the musical West Side Story. Leonard Bernstein composed the music; Stephen Sondheim wrote the song's lyrics. It is well known for using a mixed meter:

"I like to be in A-mer-i-ca" from West Side Story.


 
Original Broadway Cast "America" (1957)




27 second sample from the original Broadway casting of "West Side Story".
--------------------------------------------------------------------------------

Problems playing this file? See media help.
In the original stage version of the musical, Anita, the girlfriend of Bernardo (the leader of the Sharks) and the musical's most important female character besides Maria, literally sings the praises of the United States of America, while a fellow Puerto Rican immigrant, Rosalia, sings in favor of Puerto Rico. This version of the song arguably provides an unfavorable caricature of the island, while only highlighting positive qualities of the United States ("I'll drive a Buick through San Juan", "if there's a road you can drive on"). The underlying irony to this supposedly pro-American number, however, is in its vibrantly Hispanic musical style, with Latin percussion, complex cross-rhythms, and Spanish Guitar.
In the 1961 film version of the musical, Anita (played by Rita Moreno but dubbed by Betty Wand) still sings in favor of the United States, while Bernardo responds to her praises with corresponding criticisms satirizing latent racism in American society, especially towards Puerto Ricans ("Life is all right in America", "If you're all white in America"). Most of the song's original disparaging elements towards Puerto Rico were removed.
From a technical standpoint, the alternating of 3/4 (three quarter notes) with 6/8 (two groups of three eighth-notes), while the value of the eight-note remains constant, is a distinctive characteristic of the song. This rhythm has been called both a hemiola and a habanera, although it is not really either. The "two" and "three" bars alternate, but they are not superposed, as in a hemiola. The alternating two and three is similar to the aria "Habanera" from Carmen, but "America" lacks the distinctive characteristic underlying rhythm of the habanera form. The composer's tempo instruction is "Tempo di Huapango".

Contents
  [hide] 1 Cover versions
2 Usage in popular culture
3 See also
4 References
5 External links
Cover versions[edit]
An instrumental version, with the signature rhythm reduced to a uniform 4/4, was released in 1963 on Volume 2 (Herb Alpert's Tijuana Brass album).
In 1968, Keith Emerson, then in The Nice, covered this song as their second single. This version featured the main theme playing against a straight 4/4 beat, also including pieces of Dvořák's New World Symphony, then changing in the middle to 6/8 for improvised guitar and organ solos. Emerson later folded the melody into a great many of his jams including the 14-minute "Finale (Medley)" on the 1993 Emerson, Lake & Palmer release Live at the Royal Albert Hall which also featured musical themes from "Blue Rondo à la Turk", a jazz standard composed by Dave Brubeck. The band Metallica also incorporated a few bars from the song in the opening riff from their song, "Don't Tread on Me." The "America" melody again featured prominently in a 1986 jam with Paul Shaffer on Late Night with David Letterman.
Dr. Teeth and The Electric Mayhem performed an instrumental rendition on a 1979 episode of The Muppet Show before being interrupted by various Muppets from other countries.
Usage in popular culture[edit]
In 2011, the song was covered by the cast of musical comedy TV series Glee in the fifth episode of the third season, "The First Time" (aired on November 8), with character Santana Lopez (portrayed by Naya Rivera) on the lead.[1]
In 2013, the song was used in adverts for Admiral Insurance though with different lyrics.
Conservative talk radio host Howie Carr plays a snippet of the song, "Everything free in America!" when the subject of welfare for illegal aliens comes up.
See also[edit]
West Side Story (musical)
West Side Story (film)
Hemiola
References[edit]
1.Jump up ^ http://popdust.com/2011/11/04/glee-the-first-time-west-side-story-uptown-girl/
External links[edit]
Song lyric (stage version)
Song lyric (film version)

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Songs with music by Leonard Bernstein
Songs written by Stephen Sondheim
Songs from West Side Story
Songs about the United States
Patter songs


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Tonight (1956 song)

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"Tonight"

Single by Ferrante & Teicher

B-side
"Dream Of Love"
Released
1961
Genre
Pop
Length
2:52
Label
United Artists Records
Writer(s)
Leonard Bernstein, Stephen Sondheim
Producer
Don Costa
Ferrante & Teicher singles chronology

"Theme from Goodbye Again"
 (1961) "Tonight"
 (1961) "Smile"
 (1962)
 
"Tonight" is a popular song with music written by Leonard Bernstein and the lyrics by Stephen Sondheim and was published in 1956.
It was introduced in the Broadway musical West Side Story. The song was revived in 1961 on single records in versions by Ferrante & Teicher (#8 pop, #2 easy listening)[1] and Eddie Fisher, whose version narrowly missed the Top 40.[2] Shirley Bassey recorded the song in 1962, where it peaked at #21 on the UK charts, becoming the only recording of this song to chart on the UK charts. Jay and the Americans also released a cover version of the song. Andy Williams released a version on his 1962 album, Moon River and Other Great Movie Themes. Sergio Franchi recorded the song in his 1963 RCA Records Red Seal album, Broadway, I Love You.[3] We Five released the song on their 1966 album, You Were on My Mind.[4]
Many of the pieces in "West Side Story" experiment with different melodic tricks. This song is notable for its prominent perfect fourth intervals, and a theme that starts on a pentatonic scale but develops into a western key.
Jenna Ushkowitz sang the song on Glee, on the episode Preggers. The song also was a plot device in the episode. When Tina (Ushkowitz) gets the part, Rachel (Lea Michele) says that she thought all West Side Story material goes to herself, also with both her and Natalie Wood being Jewish. At the end, when Tina still gets the song, Rachel quits Glee Club to star as Sally Bowles in the school production of Cabaret. Tonight was featured again in the fifth episode of the third season of the show, "The First Time," this time sung by Lea Michele and Darren Criss.
Gloria Estefan recorded the song with Dave Grusin from the album "Dave Grusin Presents West Side Story" (1997).
References[edit]
1.Jump up ^ Ferrante & Teicher's charting singles Retrieved February 6, 2012.
2.Jump up ^ Eddie Fisher's charting singles Retrieved February 6, 2012.
3.Jump up ^ Sergio Franchi, Broadway, I Love You Retrieved February 6, 2012
4.Jump up ^ We Five, You Were on My Mind Retrieved March 7, 2012.
See also[edit]
Tonight Quintet

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 
 
Stub icon This 1950s pop song-related article is a stub. You can help Wikipedia by expanding it.
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Categories: 1956 songs
1961 singles
Songs with music by Leonard Bernstein
Songs written by Stephen Sondheim
Shirley Bassey songs
Jay and the Americans songs
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Maria (1956 song)

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search


 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2008)
"Maria" is a song from the Broadway musical West Side Story, sung by the lead character Tony. The music was written by Leonard Bernstein and lyrics by Stephen Sondheim. The song was published in 1956.
"Maria" is sung by the male lead Tony when he learns the name of the girl he's fallen in love with is "Maria". The name "Maria" is spoken or sung in the song 27 times. It begins in B major and then modulates to E-flat major.
The song is widely known for its use of the melodic interval of a tritone in the main theme. The song is an example of the use of lydian mode, which is the same as the major scale but with a raised 4th, giving the tritone characteristic of this piece.
Cover Versions[edit]
Alfie Boe
Ramin Karimloo
José Carreras
Dave Brubeck
George Chakiris
Perry Como
Michael Crawford (in a medley of "West Side Story" songs)
Vic Damone
Plácido Domingo
Sergio Franchi in his 1964 RCA Victor Red Red Seal Album Women in My Life[1]
Marvin Gaye
Karel Gott
Josh Groban
David Habbin
Jay and the Americans
Stan Kenton
Larry Kert
Johnny Mathis
Matt Monro
Gene Pitney
P. J. Proby
Buddy Rich
Peter Tevis
Sarah Vaughan
Matt Cavenaugh
Maynard Ferguson
References[edit]
1.Jump up ^ http://www.discogs.com/sergio-franchi

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
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Boogie Town

From Wikipedia, the free encyclopedia
 
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Boogie Town

Directed by
Chris Stokes
Written by
Chris Stokes
Starring
Marques Houston
Brenda Song
Mykal Anthony Bean
Katerina Graham
Vanessa Simmons
Khleo Thomas
Joseph C. Phillips
Cinematography
Rodney Taylor
Distributed by
Vivendi Entertainment[1]
Running time
101 minutes
Country
United States
Language
English
Boogie Town[2] is an upcoming science fiction, dance battle romance film which is directed by Chris Stokes.[3] The film is produced by Vivendi Entertainment and the film was set to be released in theatres worldwide October 2011, however it was set to be originally released in the summer of 2009.[4] The lead roles are portrayed by Marques Houston and Brenda Song.[5] Mykal Anthony Bean, Katerina Graham,[5] Joseph C. Phillips and Vanessa Simmons also play major roles in the film.[6]

Contents
  [hide] 1 Plot
2 Production 2.1 Pre-production
2.2 Filming
2.3 Marketing
3 Cast
4 Release
5 References
6 External links
Plot[edit]
The film is described as a "West Side Story" for the hip hop generation. It is set in a futuristic New York City, in 2015 where battle dancing is permanently banned because Chief Salisbury's son was murdered during a battle in 2009 when battle dancing was at its height. Ever since then, with help of the secret government agency SG7, Chief Salisbury has made it his own personal mission to permanently put an end to battle dancing.[1][4]
The film centers on the dancers, Natalie (Brenda Song) and Micah (Marques Houston). Micah is a very skilled dancer and is the leader of dance crew, "The Trojans" while his former best friend Jay (Mykal Anthony Bean) is the leader of "The Warriors". Micah, Jay and their crews have been rivals for a very long time and because of the ban on battle dancing, the crews have created an underground world named "Boogie Town" in order to continue battle dancing. Micah then meets Jay's beautiful young sister, Natalie at a popular restaurant who has just arrived home from college. Natalie, unaware that this is her brother's rival, invites him to dinner and he accepts. Soon after the dinner, the two become a romantic couple and after Natalie realizes that her boyfriend is her brother's biggest rival, she tries her best to keep their relationship a secret with the help of Micah. Natalie and Micah become a modern day Romeo and Juliet and are aware of the consequences of being seen having a romantic relationship but are deeply in love with each other. Both Micah and Jay have several mysterious and supernatural powers such as "ENERGY" and "HERCULEAN". Chief Salisbury and the SG7 created a special unit in the police department called the “Boogie Police”, a unit that are specially trained to track down and capture anyone who is caught dance battling in New York. The SG7 is after Micah and Jay because they want to use their blood to create super soldiers for an upcoming war (World War III). Natalie then explains to Micah that she knows he is a Herculean and tells him to go see a man named Genesis, and that he will answer all his questions. Micah takes the number and goes to see him. He gets no answers. Instead Genesis tells him that he is not ready yet and that when he is, he will see him then. The respectful rivalry between the two crews, goes past battle dancing and becomes a dangerous war when Jay finds out that his young sister Natalie is having a romantic relationship with his enemy. She was banned by his brother on seeing Micah. Because of Jay's hatred to her brother, she used her water power, called "wendy wu fu shu" water bending skill, she knocked his brother down, but unfortunately she knocked herself out too. After waking up she was already imprisoned by his brother who turns out to be Hades.[7] In the end, Natalie experiences a painful ending and after Genesis tells Micah that he is ready.[4]
Production[edit]
Pre-production[edit]


Boogie Town, a modern day West Side Story for the hip hop generation, takes place in a New York City of the near future. In a society where battle dancing has been outlawed, illegal dance contests now take place in the underground world of “Boogie Town.” Micah and Jay, leaders of rival dance crews, possess ‘Herculean’ powers which take the battles to extreme levels. Despite the animosity between the two crews, Micah falls in love with Jay’s beautiful sister, Natalie and the two become a future-day Romeo and Juliet.[8]

Boogie Town is loosely based on Arthur Laurents 1957 stage musical, West Side Story. On December 22, 2008, Variety reported that Vivendi Entertainment acquired worldwide theatrical distribution rights for the film and that Chris Stokes would be directing, writing the screenplay and producing the film. The distribution agreement also covers television, home video, internet/digital and mobile rights.[8] It was also reported that Monique Scott and Cheryl Trimmer will also serve as producers of the film, additionally, Stokes has brought Shane Sparks to choreograph the film.[8] The film has been described as You Got Served meets Twilight.[9]
The film will also be distributed by Christopher Brian Films, Stokes film company. This will be one of the first projects to be put into development by Vivendi Entertainment next to the Natalie Portman and Scarlett Johansson-directed film, New York, I Love You.[8]
Tom O’Malley, president and CEO of Vivendi Entertainment said, "Chris' vision for You Got Served inspired a new generation of dance films. We’re thrilled that Chris will now call VE home. Boogie Town is the start of what we expect to be a long and rewarding relationship."[8]
Stokes, who is also the founder and CEO of Christopher Brian Films said: "We are excited to partner with Vivendi Entertainment. Tom O'Malley has created an open and collaborative culture committed to helping independent filmmakers like myself. VE is the perfect creative home for Boogie Town as well as for my future films."[8]
Filming[edit]
With more than 300 hired to become extras for the film, production began on December 3, 2008 in Downtown Los Angeles, U.S.A. and was supposed to end in April of the same year.[10] Several days before the announced production date, several members of the cast were photographed while headed to a wardrobe studio for fittings. Work was allegedly stopped on December 12, 2008 after payroll issues developed, because none of the background performers were paid at the time. In April 2009, principal photography was stopped due to Song's Suite Life schedule and the film's release date has been postponed. Song said in a June 2009 interview: "We’re actually not done shooting it yet. We had to put it on hold because of On Deck, so we’ll have to finish shooting it, but hopefully soon."[10]


I don't do a lot of dancing in the movie, but I have to do some, and Five Styles and Shane Sparks choreographed this movie and they are amazing dancers. And Marques Houston has been dancing his whole life... Marques is in it! He plays Micha. He's the lead guy. I'm his love interest. So let me tell you, it is so amazing to go see the rehearsals and they do this whole dance number and Marques already picked it all up. And I'm like, 'Hold on a second! Hold on!' I don't have to do a lot of dancing, thank goodness, but I have a new found respect for dancers. It's so amazing. There's wire works. It's going to be really, really fun.
Brenda Song[10]
Brenda Song's involvement in the project, wherein she will play Natalie, was first announced weeks before Houston was confirmed to work on the film.
Marketing[edit]
Though it was still the first days of principal photography for Boogie Town, Vivendi Entertainment has already announced that Boogie Town will have several consumer products including a soundtrack based on the film which will include Houston and will be released by the Universal Music Group which Houston is signed to.[1]
Cast[edit]
Marques Houston as Micah
Brenda Song as Natalie
Mykal Anthony Bean as Jay/Hades
Katerina Graham as Ingrid
Vanessa Simmons as Cicely
Khleo Thomas as Gizmo
Joseph C. Phillips as Chief Salsbury
Release[edit]
The film was originally supposed to be released in the summer of 2009 in the United States and Canada.[8] The original release date was June 16, 2009. The film's first version of the official trailer was released in March 2009. The film did not finish filming in June due to Song's Suite Life schedule and the film's shooting was postponed in the late summer of 2009 because of Houston's worldwide tour and Song's schedule.[10] According to Vivendi and the film's official website (now offline), the film was planned to be released in theatres in July 2011.[4] It is unknown if the film will still be released.
References[edit]
1.^ Jump up to: a b c "Vivendi Entertainment to distribute Boogie Town". Universal Music Group. Retrieved June 17, 2009.
2.Jump up ^ Njai Joszor. "Marques Houston 'Boogies' With Vanessa Simmons". Singersroom.com. Retrieved June 17, 2009.
3.Jump up ^ Jonas, Michael (December 4, 2008). "Vivendi set to 'Boogie' with Stokes". Variety. Retrieved June 17, 2009.
4.^ Jump up to: a b c d [dead link] Vivendi Entertainment. "Boogie Town Movie". Retrieved August 17, 2009.
5.^ Jump up to: a b "Brenda Song Boogie Town". Just Jared Jr. Retrieved June 17, 2009.
6.Jump up ^ "Vaness Simmons in Boogie Town Movie". Pastryshoecollection.com. Retrieved June 17, 2009.
7.Jump up ^ Torres, Ashley. "woodsboro-killer". blogging. Tumblr. Retrieved 2012-09-14.
8.^ Jump up to: a b c d e f g Vivendi Entertainment to distribute Boogie Town
9.Jump up ^ Boogie Town Trailer
10.^ Jump up to: a b c d Brenda Song: Life Sure Is Sweet!
External links[edit]
Boogie Town at the Internet Movie Database
Boogie Town at Hollywood.com

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Categories: English-language films
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West Bank Story

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search

West Bank Story
West Bank Story poster.jpg
Directed by
Ari Sandel
Produced by
Bill Boland
 Ashley Jordan
 Amy S. Kim
 Ravi Malhotra
 Ari Sandel
 Pascal Vaguelsy
Written by
Kim Ray
 Ari Sandel
Starring
Ben Newmark
Noureen DeWulf
Joey Naber
A.J. Tannen
Music by
Yuval Ron
Cinematography
Gavin Kelly
Editing by
Avi Youabian
Release date(s)
January 20, 2005 (Sundance)
 
Running time
21 minutes
Country
United States
Language
English
Budget
US$73-74,000
West Bank Story is a comedy/musical short film, directed by Ari Sandel, co-written by Sandel and Kim Ray, produced by Pascal Vaguelsy, Amy Kim, Ashley Jordan, Ravi Malhotra, Bill Boland and featuring choreography by Ramon Del Barrio. The film is a parody of the classic musical film West Side Story, which in turn is an adaptation of Romeo and Juliet. The film follows the romance between the relatives of the owners of rival falafel restaurants, one Israeli and the other Palestinian, respectively named the "Kosher King" and the "Hummus Hut," in the West Bank. The film stars Ben Newmark as the IDF soldier, Noureen DeWulf as the Palestinian cashier, A.J. Tannen as the Israeli restaurant owner and Joey Naber as his Palestinian rival.
Filmed on a Santa Clarita ranch,[1] the short premiered at the 2005 Sundance Film Festival, and was screened at numerous additional film festivals across the world, garnering several awards. In 2007, at the 79th Academy Awards, it won the Oscar in the category Best Live Action Short Film.

Contents
  [hide] 1 Plot
2 Awards
3 See also
4 External links
5 References
Plot[edit]
The film begins with a scene in which the Palestinians and Jews are both snapping, similar to the opening scene of West Side Story. The two parties head in to their own stands and sing about their own family-owned falafel stands, Hummus Hut and Kosher King ("Our People Must Be Fed/Our People Must Be Served"). During the day, Hummus Hut employee Fatima and Kosher King relative David are daydreaming about each other ("When I See Him"). When Fatima rushes to give a customer his forgotten leftovers, she has a chance encounter with David, and they realize their mutual attraction.
Upon returning to the shop, Fatima finds the Kosher King Jews have built a large machine that encroaches onto their property. The head of Hummus Hut throws a rock into the machine, making it malfuncton, provoking a standoff between the two families (including David and Fatima). Ariel, head of the Kosher King, decides he is going to build a wall. After they leave, David and Fatima stay, and David plans to come to her balcony tonight.
The construction begins, and the Palestinians plan to end it abruptly ("We're Gonna Build It"). As such happens, David goes to Fatima's house ("This Moment Is All We Have"), wanting to kiss her, but Fatima refuses, saying it will only escalate the conflict. They head over to stop the fight. As they do, it is revealed to Fatima's family that they are in love. The following fight tips over a canister of gasoline, causing the entire stand to catch fire. David goes to warn the Israelis, who celebrate - until an ember reaches the Kosher King, which proceeds to catch on fire. As the Hummus Hut denizens celebrate, Fatima points out to everyone that they are only making their lives worse.
The next morning, expectant falafel customers are oblivious to the fire, and still want food. Ahmed and Ariel have nothing, but David and Fatima scrape together some of the remaining food, merging the two falafel stands. After the others are working, David and Fatima kiss. At the very end, Fatima asks what will happen if their families cannot stop fighting. David says he will "take you to a place called... Beverly Hills", alluding to the song "Somewhere" in West Side Story.
Awards[edit]
Academy Awards Live Action Short Film 2007
Now Film Festival Finalist
Indianapolis International Film Festival Audience Award - Best Short
Malibu Film Festival Special Jury Award - Best Live Action Short Film
Method Fest Special Mention
Stony Brook Film Festival Festival Grand Prize

See also[edit]
List of American films of 2005
External links[edit]
Official website
West Bank Story at the Internet Movie Database
79th Annual Academy Awards
Interview feature by CNN International's Inside the Middle East (video)
References[edit]
1.Jump up ^ The Haaretz (Feb. 2007), Musical comedy on West Bank wins Oscar for best live action short film

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Academy Award for Live Action Short Film (2001–2020)

 
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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Categories: 2005 films
English-language films
2000s comedy films
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Parody films
Live Action Short Film Academy Award winners
2000s short films
Israeli–Palestinian conflict films
Interfaith romance films
Modern adaptations of works by William Shakespeare
Films based on Romeo and Juliet
Films based on plays
Hummus

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Swango (musical)

From Wikipedia, the free encyclopedia
 
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Swango is a dance musical conceived and choreographed by Mariela Franganillo and Robert Royston, with a script by Rupert Holmes.
The original production played in the off-Broadway Swing 46 jazz club in 2002[1] and moved to the Helen Hayes Theatre in Nyack, New York in 2003. It received mixed reviews. In both productions, Franganillo and Royston played the lovers.[1][2] It played at theatres in White Plains, New York and Queens, New York in 2005.[3]
Plot[edit]
A Romeo and Juliet-type story loosely based on West Side Story. A girl from the Argentine Tango world meets a boy from the West Coast Swing crew. A bartender narrates the conflict as the two groups compete to take over a new dance club in a converted warehouse. When the lovers come together, they create the fusion of Tango and Swing suggested by the title.[4]
References[edit]
1.^ Jump up to: a b "Swinging Summer", The Village Voice, September 3, 2002
2.Jump up ^ "In Swango, This Time Opposites Don't Attract", The New York Times, June 15, 2003
3.Jump up ^ Parks, Steve. "In lively competition, swing vs. tango rocks", Newsday, May 13, 2005
4.Jump up ^ An interview with the choreographers of Swango

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Off-Broadway plays
American plays
Swing dancing
Tango dance
2002 plays

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Deaf Side Story

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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2011)
Deaf Side Story is a musical based on West Side Story, itself an adaptation of William Shakespeare's play Romeo and Juliet. Takes place in New York City during the mid-1950s, the musical based on West Side Story explores the rivalry between the two gangs Jets and the Sharks, two teenage street gangs of different cultural backgrounds (Deaf and Hearing). The members of the Sharks from Puerto Rico are taunted by the Jets, a white working-class group. The young protagonist, Tony, one of the Jets, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The theme, music, and dances focus on culture problems.

Contents
  [hide] 1 Background
2 Author
3 Concept
4 Main Characters
5 Chapters
6 Songs
7 References
Background[edit]
The well-known American musical West Side Story has been staged many times. However, a Deaf school in Jacksonville and MacMurray College in Illinois remade the musical into Deaf Side Story. Diane Brewer, drama instructor was determined to put on a performance by having deaf students and hearing students perform the well-known musical West Side Story. Deaf Side Story presented an amazing narrative of Brewer cast and play. The musical is a rivalry between Sharks and Jets, two teenage gangs of different ethnic backgrounds. Members of the Sharks gang are from Puerto Rico and the members of the Jets are white working class group. Just like the storyline of Romeo and Juliet by William Shakespeare’s Maria, sister of Bernando leader of the Sharks, falls in love with Tony member of the Jets, which was not accepted by both gangs. Deaf Side Story portrays similarities from West Side Story, however in this storyline two different cultures are shown, Deaf culture and the hearing world.
Author[edit]
Author Mark Rigney of Deaf Side Story Deaf Sharks, Hearing Jets and a Classic American Musical, nominated for a Pushcart Prize, portrays the progress of the production of the musical. Mark Rigney included everything from the production, including all the frustrations and achievements, and the problems between the deaf high school cast members and their hearing college cast members. He followed the production and kept records on dates, what was happening on that specific day and time and on each of the cast members. He described challenges with interpreters and how the deaf and hearing audience would be able to understand both sides. Success production of Deaf Side Story showed individuals from many cultures and how they cooperated to perform a classic American musical so well together. Mark Rigney titles each chapter from the hit songs in the original West Side Story. Rigney described the problems having to get hearing members of the audience to understand the Sharks’ signing in their scenes. Mark Rigney follows Brewer on how it all started and the challenges they all faced.
Concept[edit]
Brewer went to the Illinois School for the Deaf to cast the Sharks. Hearing college performers at MacMurray auditioned to be the Jets. Once Diane Brewer had cast her hearing Tony and deaf Maria, came the challenging part of teaching her whole cast to not only sing but learn to sign, and dance all the songs the famous musical is known for. The idea seemed so simple at first. Brewer thought the language of American Sign Language should be onstage, not off. She then found Christopher Smith, a deaf choreographer from Chicago, who was more than happy to help with the musical. With great support and assistance, they were ready to start the show. Deaf Side Story also showed Smith’s talents. It demonstrated that deaf performers could accomplish expectations of those who think they lack a sense of musicality. Brewer and Smith continued to explore the nature of their deaf and hearing collaboration as well as the intercultural connections between the Deaf and hearing communities. Deaf Side Story gave Brewer the opportunity to tell a story about two people who fall in love across a cultural-linguistic barrier. Language divided the Jets and the Sharks but brought Tony and Maria together as they began to use the same language.
Main Characters[edit]
Tony
Maria
Bernardo
Anita
Riff
Baby Jon
Doc
Chino
Jets
Sharks
Action
A-Rab
Anybodys
Chapters[edit]
Author’ notes
Acknowledgements
Overture
Prologue
Jet song
Something’s Coming
Dance at the Gym
Maria
America
Cool/Tonight
One Hand, One Heart
Quintet (Tonight Medley)
The Rumble
I Feel Pretty
Somewhere
Gee, Officer Krupke
A Boy Like That/I Have a Love
Finale
Epilogue
Authors Notes
Songs[edit]
Jet song
Something’s Coming
Dance at the Gym
Maria
America
Cool/Tonight
One Hand, One Heart
Quintet (Tonight Medley)
The Rumble
I Feel Pretty
Somewhere
Gee, Officer Krupke
A Boy Like That/I Have a Love
References[edit]
Brewer, Diane “West Side Silence Producing west Side Story with Deaf and Hearing Actors” Theater Topics 12.1 (2002)
Rigney, Mark “Deaf Side Story; Deaf Sharks, Hearing Jets, and a Classical American Musical” Washington DC Gallaudet University Press 2003.

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 

 

Categories: Musicals



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West Side Story Suite

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This article is about Robbins' 1995 ballet suite. For the original 1957 musical, see West Side Story (musical). For other uses, see West Side Story (disambiguation).
West Side Story Suite is a ballet made by New York City Ballet balletmaster Jerome Robbins to the 1957 music by Leonard Bernstein and lyrics of Stephen Sondheim and extracted from the eponymous musical which he had choreographed, with scenery by Oliver Smith, costumes by Irene Sharaff and lighting by Jennifer Tipton. The premiere took place at New York State Theater on Thursday, May 18th, 1995. Nikolaj Hübbe and Jock Soto, both members of the original cast, as well as Peter Boal all chose to include West Side Story Suite in their farewell performances at City Ballet.

Contents
  [hide] 1 Cast 1.1 original
1.2 NYCB revivals 1.2.1 2008 Winter 1.2.1.1 first cast
1.2.1.2 second cast
1.2.2 2008 Spring — Jerome Robbins celebration
1.2.3 2008 Summer tour to Paris
1.2.4 2008 Summer tour
1.2.5 2009 Winter 1.2.5.1 second cast
1.2.5.2 second cast
1.2.6 2009 Fall tour to Japan 1.2.6.1 first cast
1.2.6.2 second cast
1.2.7 2010 Winter

2 Footnotes
3 References
4 Articles
5 Reviews
6 External links
Cast[edit]
original[edit]
 Nancy Ticotin
Elena Diner
Natalie Toro
 Robert La Fosse
Jock Soto
Nikolaj Hübbe
 
NYCB revivals[edit]
2008 Winter[edit]
first cast[edit]
 Faye Arthurs
Georgina Pazcoguin[1]
Gretchen Smith[1]
 Benjamin Millepied
Amar Ramasar[1]
Damian Woetzel
 
second cast[edit]
 Faye Arthurs
Georgina Pazcoguin
Gretchen Smith
 Robert Fairchild[1]
Amar Ramasar
Andrew Veyette[1]
 
2008 Spring — Jerome Robbins celebration[edit]
 Faye Arthurs
Georgina Pazcoguin
Gretchen Smith
 Robert Fairchild
Amar Ramasar
Damian Woetzel
 
2008 Summer tour to Paris[edit]
  t.b.a.
2008 Summer tour[edit]
  t.b.a.
2009 Winter[edit]
second cast[edit]
 Faye Arthurs
Georgina Pazcoguin
Gretchen Smith
 Robert Fairchild
Andrew Veyette
Justin Peck[2]
 
second cast[edit]
 Faye Arthurs
Jenifer Ringer
Gretchen Smith
 Benjamin Millepied
Andrew Veyette
Amar Ramasar
 
2009 Fall tour to Japan[edit]
first cast[edit]
 Faye Arthurs
Jenifer Ringer
Gretchen Smith
 Robert Fairchild
Amar Ramasar
Andrew Veyette
 
second cast[edit]
 Faye Arthurs
Georgina Pazcoguin
Gretchen Smith
 Benjamin Millepied
Justin Peck
Andrew Veyette
 
2010 Winter[edit]
  t.b.a.
Footnotes[edit]
1.^ Jump up to: a b c d e first time in rôle
2.Jump up ^ NYC rôle debut
References[edit]
Playbill, NYCB, Tuesday, April 29th, 2008
 Repertory Week, NYCB, Spring season, 2008 repertory, week 1
 
Articles[edit]
NY Times, Anna Kisselgoff, July 2nd, 1995
 NY Times, Avery Corman, May 14th, 1995
 
Reviews[edit]
NY Times by Alastair Macaulay, February 12th, 2008
NY Times by Jennifer Dunning, February 11th, 2008
 NY Times by Jack Anderson, June 21st, 2005
NY Times by Gia Kourlas, June 7th, 2005
NY Times by Anna Kisselgoff, May 20th, 1995
 
External links[edit]
NYCB website
 Robbins Foundation and Trust website
 

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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Categories: 1995 ballet premieres
Ballets by Jerome Robbins
Ballets by Leonard Bernstein
Ballets designed by Irene Sharaff
Ballets designed by Jennifer Tipton
New York City Ballet repertory
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Maria (West Side Story)

From Wikipedia, the free encyclopedia
 
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 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2013)
Maria is the leading female character in the film and theatrical version of West Side Story, the award winning adaptation of William Shakespeare's romantic tragedy Romeo and Juliet.[1]

Contents
  [hide] 1 Best known portrayal
2 Songs
3 First appearance
4 References
Best known portrayal[edit]
The best known portrayal of Maria was by Natalie Wood in the 1961 film. The film has received criticism for the fact that Wood did not have the same Ethnic group (Puerto Rican) as Maria, and Wood was in her twenties, while the character was scripted to be in her teens.
Songs[edit]
The songs sung by Maria include "Tonight" sung with Tony (the leading male character), "Somewhere" also sung with Tony and "I Feel Pretty" sung with Anita and the girls in the dress shop. All three songs have been classed as operatic.[citation needed] In both the film and the play is a song named "Maria", which is sung by Tony in both.
First appearance[edit]
Maria's first appearance is in a dressing room, where she is arguing with Anita (her friend and her brother's girlfriend) for more cleavage in the dress that Anita is making for her. She does not meet Tony until the dance at the gym.
References[edit]
1.Jump up ^ http://www.imdb.com/title/tt0055614/

[hide]
v·
 t·
 e
 
Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 
Characters
Maria·
 Nurse
 
 
Inspiration
William Shakespeare's Romeo and Juliet
 
 
Adaptations
West Side Story (1961 film)·
 West Side Story Suite (1995 ballet)
 
 
Variations
Deaf Side Story (c. 2002 musical)·
 Swango (2002 musical)·
 West Bank Story (2005 parody film)·
 Boogie Town (2012 film)
 
 
Songs
"Maria"·
 "Balcony Scene (Tonight)"·
 "America"·
 "Cool"·
 "Tonight Quintet"·
 "Somewhere"·
 "A Boy Like That"
 
 
Albums
West Side Story (1957 original cast)·
 West Side Story (1959 Previn)·
 West Side Story (1961 soundtrack)·
 West Side Story (1961 Tjader)·
 Bernstein Plays Brubeck Plays Bernstein (1961 Brubeck Quartet)·
 West Side Story (1962 Peterson Trio)·
 Toshiko – Mariano Quartet (in West Side) (1963 Akiyoshi)
 
 
Related
"The First Time"·
 "Upper West Side Story"·
 Wild Side Story·
 China Girl·
 "Roses"·
 Play It Again·
 Josh·
 Superjail!
 
 


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West Side Story

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search

This article is about the Broadway musical. For other uses, see West Side Story (disambiguation).

West Side Story
West Side 001.jpg
Original Cast Recording
 
Music
Leonard Bernstein
Lyrics
Stephen Sondheim
Book
Arthur Laurents
Basis
William Shakespeare's Romeo and Juliet
Productions
1957 Broadway
 1958 West End
 1959 U.S. tour
 1960 Broadway return
 1961 Film
 1980 Broadway revival
 1997 UK tour and West End revival
 2008 West End revival and UK tour
 2009 Broadway revival and US tour
 2013/2015 UK Tour

Portal icon New York City portal
Portal icon Dance portal
West Side Story is an American musical with a book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim, and conception and choreography by Jerome Robbins. It was inspired by William Shakespeare's play Romeo and Juliet.
The story is set in the East 40s and West 50s of the Upper West Side neighborhood in New York City in the mid-1950s, an ethnic, blue-collar neighborhood. (In the early 1960s much of the neighborhood would be cleared in an urban renewal project for the Lincoln Center, changing the neighborhood's character.)[1][2] The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks from Puerto Rico are taunted by the Jets, a Polish-American working-class group.[3] The young protagonist, Tony, one of the Jets, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes "Something's Coming", "Maria", "America", "Somewhere", "Tonight", "Jet Song", "I Feel Pretty", "A Boy Like That", "One Hand, One Heart", "Gee, Officer Krupke", and "Cool".
The original 1957 Broadway production, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six[4] Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson's The Music Man; it won one Tony for Robbins' choreography and one for Oliver Smith's scenic designs. The show had an even longer-running London production, a number of revivals and international productions. The play spawned an innovative 1961 musical film of the same name, directed by Robert Wise and Robbins, starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film won ten Academy Awards out of eleven nominations, including Best Picture.

Contents
  [hide] 1 Background 1.1 Genesis of the concept
1.2 Collaboration and development
1.3 Production period
2 Synopsis 2.1 Act 1
2.2 Act 2
3 Characters
4 Musical numbers
5 Shakespearean basis 5.1 Characters
5.2 Story parallels
6 Productions 6.1 Original Broadway production
6.2 Original London production
6.3 1980 Broadway revival
6.4 2009 Broadway revival
6.5 Other productions
6.6 National Tours
6.7 Regional productions
6.8 International productions
7 Critical reaction
8 Score 8.1 Orchestration
8.2 Symphonic Dances from West Side Story
9 Recordings
10 Film
11 References in popular culture
12 Awards and nominations 12.1 Original Broadway production
12.2 1980 Broadway revival
12.3 2008 West End revival
12.4 2009 Broadway revival
13 Notes
14 Further reading
15 External links
Background[edit]
Genesis of the concept[edit]
In 1947, Jerome Robbins approached Leonard Bernstein and Arthur Laurents about collaborating on a contemporary musical adaptation of Romeo and Juliet. He proposed that the plot focus on the conflict between an Irish American Roman Catholic family and a Jewish family living on the Lower East Side of Manhattan,[5] during the Easter–Passover season. The girl has survived the Holocaust and emigrated from Israel; the conflict was to be centered around anti-Semitism of the Catholic "Jets" towards the Jewish "Emeralds" (a name that made its way into the script as a reference).[6] Eager to write his first musical, Laurents immediately agreed. Bernstein wanted to present the material in operatic form, but Robbins and Laurents resisted the suggestion. They described the project as "lyric theatre", and Laurents wrote a first draft he called East Side Story. Only after he completed it did the group realize it was little more than a musicalization of themes that had already been covered in plays like Abie's Irish Rose. When he opted to drop out, the three men went their separate ways, and the piece was shelved for almost five years.[7][8]
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.[9]
Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner. While in Hollywood, he contacted Bernstein, who was in town conducting at the Hollywood Bowl. The two met at the Beverly Hills Hotel, and the conversation turned to juvenile delinquent gangs, a fairly recent social phenomenon that had received major coverage on the front pages of the morning newspapers due to a Chicano turf war. Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more familiar with Puerto Ricans and Harlem than he was with Mexican Americans and Olvera Street. The two contacted Robbins, who was enthusiastic about a musical with a Latin beat. He arrived in Hollywood to choreograph the dance sequences for The King and I, and he and Laurents began developing the musical while working on their respective projects, keeping in touch with Bernstein, who had returned to New York. When the producer of The Painted Veil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind, he backed out of the film, freeing him to devote all his time to the stage musical.[10]
Collaboration and development[edit]
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 benefit from the experience, and he accepted.[11] 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.[12]
The original book Laurents wrote closely adhered to Romeo and Juliet, but the characters based on Rosaline and the parents of the doomed lovers were eliminated early on. Later the scenes related to Juliet's faking her death and committing suicide also were deleted. Language posed a problem; four-letter curse words were uncommon in the theatre 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.[13] Sondheim converted long passages of dialogue, and sometimes just a simple phrase like "A boy like that would kill your brother", into lyrics. With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move "One Hand, One Heart", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a result "Tonight" was written to replace it. Laurents felt that the building tension needed to be alleviated in order to increase the impact of the play's tragic outcome, so comic relief in the form of Officer Krupke was added to the second act. He was outvoted on other issues: he felt the lyrics to "America" and "I Feel Pretty" were too witty for the characters singing them, but they stayed in the score and proved to be audience favorites. Another song, "Kid Stuff", was added and quickly removed during the Washington, D.C. tryout when Laurents convinced the others it was helping tip the balance of the show into typical musical comedy.[14]
Bernstein composed West Side Story and Candide concurrently, which led to some switches of material between the two works.[15] Tony and Maria's duet, "One Hand, One Heart", was originally intended for Cunegonde in Candide. The music of "Gee, Officer Krupke" was pulled from the Venice scene in Candide.[16] Laurents explained the style that the creative team finally decided on:

Just as Tony and Maria, our Romeo and Juliet, set themselves apart from the other kids by their love, so we have tried to set them even further apart by their language, their songs, their movement. Wherever possible in the show, we have tried to heighten emotion or to articulate inarticulate adolescence through music, song or dance.
—[17]
The show was nearly complete in the fall of 1956, but almost everyone on the creative team needed to fulfill other commitments first. Robbins was involved with Bells Are Ringing, then Bernstein with Candide, and in January 1957 A Clearing in the Woods, Laurents' latest play, opened and quickly closed.[18] 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.[19] Every other producer had already turned down the show, deeming it too dark and depressing. Bernstein was despondent, but Sondheim convinced his friend Hal Prince, who was in Boston overseeing the out-of-town tryout of the new George Abbott musical New Girl in Town, to read the script. He liked it but decided to ask Abbott, his longtime mentor, for his opinion, and Abbott advised him to turn it down. Prince, aware that Abbott was the primary reason New Girl was in trouble, decided to ignore him, and he and his producing partner Robert Griffith flew to New York to hear the score.[20] In his memoirs, Prince recalled, "Sondheim and Bernstein sat at the piano playing through the music, and soon I was singing along with them."[16]
Production period[edit]
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,[16] and allowed Robbins to hire Peter Gennaro as his assistant.[21] Originally, when considering the cast, Laurents wanted James Dean for the lead role of Tony, but the actor had died before hearing of it. 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 told Rolling Stone:

Everyone told us that [West Side Story] was an impossible project ... And we were told no one was going to be able to sing augmented fourths, as with "Ma-ri-a" ... Also, they said the score was too rangy for pop music ... Besides, who wanted to see a show in which the first-act curtain comes down on two dead bodies lying on the stage?... And then we had the really tough problem of casting it, because the characters had to be able not only to sing but dance and act and be taken for teenagers. Ultimately, 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.
—[22]
Throughout the rehearsal period, the New York newspapers were filled with articles about gang warfare, keeping the show's plot timely. Robbins kept the cast members playing the Sharks and the Jets separate in order to discourage them from socializing with each other and reminded everyone of the reality of gang violence by posting news stories on the bulletin board backstage.[23] Robbins wanted a gritty realism from his sneaker- and jeans-clad cast. He gave the ensemble more freedom than Broadway dancers had previously been given to interpret their roles, and the dancers were thrilled to be treated like actors instead of just choreographed bodies.[24] 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.[16] Columbia Records initially declined to record the cast album, saying the score was too depressing and too difficult.[6]
There were problems with Oliver Smith's designs. His painted backdrops were stunning, but the sets were, for the most part, either shabby looking or too stylized. Prince refused to spend money on new construction, and Smith was obliged to improve what he had as best he could with very little money to do it.[25]
The pre-Broadway run in Washington, D.C. was a critical and commercial success, although none of the reviews mentioned Sondheim, listed as co-lyricist, who was overshadowed by the better-known Bernstein. Bernstein magnanimously removed his name as co-author of the lyrics, although Sondheim was uncertain he wanted to receive sole credit for what he considered to be overly florid contributions by Bernstein. Robbins demanded and received a "Conceived by" credit, and used it to justify his making major decisions regarding changes in the show without consulting the others. As a result, by opening night on Broadway, none of his collaborators were talking to him.[26]
It has been rumored that while Bernstein was off trying to fix the musical Candide, Sondheim wrote some of the music for West Side Story, and that Bernstein's co-lyricist billing mysteriously disappeared from the credits of West Side Story during the tryout, presumably as a trade-off.[27] However, Suskin states in Show Tunes that "As the writing progressed and the extent of Bernstein's lyric contributions became less, the composer agreed to rescind his credit...Contrary to rumor, Sondheim did not write music for the show; his only contribution came on "Something's Coming", where he developed the main strain of the chorus from music Bernstein wrote for the verse.[28])
Synopsis[edit]
Act 1[edit]
Two teenage gangs, the Jets (White) and the Sharks (Puerto Rican), struggle and rival 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 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, but some of the Jets are unsure of his loyalty ("Jet Song"). Riff meets Tony while he's working at Doc's Drugstore to persuade him to come. Loyal to Riff, Tony agrees, but he wants no further part of gang life and imagines a better future ("Something's Coming").
Maria works in a bridal shop with Anita, the girlfriend of her brother, Bernardo. Maria has just arrived from Puerto Rico, and her family has selected Chino, a member of the Sharks, to be her future husband. Anita makes Maria a dress to wear to the neighborhood dance.

 

 The Shark girls extol the virtues of "America" in Portland Center Stage's production of West Side Story in 2007.
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 try to 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"). He appears on her fire escape, and the two profess their love for one another ("Balcony Scene"). 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 a girl named Rosalia yearning for Puerto Rico, ("América"). 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 the rumble. 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 tells Riff to back away, but Riff shakes him off and continues the fight. In an important moment of the show, Riff has an opportunity to stab Bernardo, but Tony holds him back. After shaking off Tony, Riff returns to the fight but is accidentally stabbed and killed by Bernardo in the process. Tony then takes Riff's knife and kills Bernardo in a fit of rage. The two gangs then go into a free-for-all. The sound of approaching 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.
Act 2[edit]

 

 Tony (Justin Gordon) and Maria (Erica Racz) in a Pacific Repertory Theatre production in 2001.
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").
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 responds 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 attack her physically. Doc arrives and stops them. Anita is furious, and in anger spitefully delivers the wrong message, telling the Jets that Chino has shot Maria dead.
Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with Maria. Feeling there is no longer anything to live for, Tony leaves to find Chino, begging for him to shoot him as well. Just as Tony sees Maria alive, Chino arrives and shoots Tony. The Jets, Sharks, and adults flock around the lovers. Maria holds Tony in her arms (and sings a quiet, brief reprise of "Somewhere") as he dies. Angry at the death of another friend, the Jets move towards the Sharks but Maria takes Chino's gun and tells everyone that "all of [them]" killed Tony and the others because of their hate for each other, and,"Now I can kill too, because now I have hate!" she yells. However, she is unable to bring herself to fire the gun and drops it, crying in grief. Gradually, all the members of both gangs assemble on either side of Tony's body, showing that the feud is over. The Jets and Sharks form a procession, and together carry Tony away, with Maria the last one in the procession.
Characters[edit]

Male Jets
Riff, quick-tempered but zany leader of the Jets
Tony, former joint-leader of the Jets, gone straight. Riff's best friend.
Ice/ Diesel, second-in-command of the Jets. Ice was a character created for the movie, but has been adopted in later stage productions. Takes over as leader after Riff's death
Action, the most quick-tempered member of the Jets, always ready for a fight.
A-Rab. Slightly less quick tempered than Action. Baby John's best friend
Baby John, the youngest Jet, who is beaten up during the opening sequence. A-Rab's best friend
Snowboy
Joyboy
Big Deal
Tiger
Mouthpiece
Gee-Tar
Male Sharks
Bernardo, Maria's brother, leader of the Sharks
Chino, Maria's hot-tempered suitor, Bernardo's best friend. Kills Tony.
Pepe, second-in-command of the Sharks
Indio
Loco
Jauno
Luiz
Rocco/Anxious
Toro
Nibbles/Del Campo
Chile

Female Jets
Graziella, Riff's girlfriend (Ice / Diesel's girlfriend in some productions)
Velma, Ice's girlfriend (Riff's girlfriend in some productions)
Minnie, Baby John's girlfriend
Clarice, Action's girlfriend
Pauline, A-Rab's girlfriend
Anybodys, a tagalong tomboy, eventually accepted into the gang after Riff's death (falls in love with Action in some smaller productions)
Female Sharks
Maria, Puerto Rican ingenue; Bernardo's sister
Anita, saucy friend of Maria and girlfriend of Bernardo,
Rosalia, argues with Anita in "America"; Indio's girlfriend
Consuela, Pepe's girlfriend
Teresita, Loco's girlfriend
Francisca, Jauno's girlfriend
Estella, Luiz's girlfriend
Margarita, Toro's girlfriend
 
Adults
Officer Krupke, an aggressive but inept cop
Doc, a weary old candy store owner
Glad Hand, the inept chaperone at the dance
Detective Schrank, a racist police lieutenant
Musical numbers[edit]
Act 11. "Prologue" (Instrumental) – Jets and Sharks
2. "Jet Song" – Riff, Action, Baby John, A-rab, Big Deal and Jets
3. "Something's Coming" – Tony
4. "Dance At The Gym" (Instrumental) – Jets and Sharks "Blues"
"Promenade"
"Mambo"
"Cha-cha"
"Meeting Scene" – Tony and Maria
"Jump"
5. "Maria" – Tony
6. "America" – Anita, Rosalia, Shark Girls
7. "Balcony Scene (Tonight)" – Tony and Maria
8. "Cool" – Riff and Jets
9. "One Hand, One Heart" – Tony and Maria
10. "Tonight Quintet and Chorus" – Anita, Tony, Maria, Bernardo, Riff, Jets and Sharks
11. "The Rumble" (Dance) – Jets and Sharks
 Act 2"Entr'acte" (Instrumental)
12. "I Feel Pretty" ("Me Siento Hermosa" in the 2009 revival) – Maria, Consuelo, Rosalia, Teresita, Francisca and Shark Girls
13. "Ballet Sequence" – Tony and Maria
"Transition to Scherzo" – Instrumental
"Scherzo" – Instrumental
"Somewhere" (Song and Dance) – Company and "Dream Consuelo" (in the 2009 revival, "Kiddo", Tony, Maria, and Company)
"Procession and Nightmare" – Jets and Sharks
14. "Gee, Officer Krupke" – Action, A-rab, Diesel, Baby John and the Jets
15. "A Boy Like That" ("Un Hombre Así" in the 2009 revival) / "I Have A Love" – Anita and Maria
16. "Taunting Scene" (Instrumental) – Anita and Jets
17. "Finale" – Tony and Maria
 
Shakespearean basis[edit]
Characters[edit]
Many of the key characters in West Side Story are based on counterparts in Romeo and Juliet:
Tony/Romeo
Maria/Juliet
Bernardo/Tybalt and Capulet
Anita/Nurse and Lady Capulet
Riff/Mercutio and Montague
Baby John/Benvolio
Doc/Friar Laurence and the Apothecary
Chino/Paris
 Jets/Montagues
Sharks/Capulets
Schrank & Officer Krupke/Prince Escalus and Citizens
Action/Sampson
A-Rab/Abraham
Anybodys/Balthasar
 
Story parallels[edit]

Question book-new.svg
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Romeo and Juliet starts out with a street fight between the Montagues and Capulets; the Jets and the Sharks have a similar fight.
The beginning fight is broken up by Krupke and Schrank, just as Prince Escalus breaks up the Montague-Capulet fight.
Tony has a recurring dream, like the one Romeo describes to Mercutio.
Juliet is betrothed to Paris, and Maria has been set up with Chino.
Some Montague men crash the Capulet party in which Romeo meets Juliet. In West Side Story, Maria and Tony see each other from opposite sides of the gym and are immediately attracted to each other.
Romeo searches for Juliet and finds her at her balcony. After the dance, Tony finds Maria and uses the fire escape.
Romeo and Juliet go to a Friar to get married; Maria and Tony role-play a wedding during their tryst in the bridal shop.
In the rumble scene, Bernardo kills Riff like Tybalt kills Mercutio; Tony avenges Riff's death by killing Bernardo, just as Romeo kills Tybalt.
The Capulet nurse is played around with and disgraced by Montague men, while Anita is taunted and attacked by the Jets.
Both stories feature Maria/Juliet's false death and Tony/Romeo's suicidal response to his mistaken belief that his love is dead. An enraged Anita, following the attempted rape, deliberately tells the Jets that Chino has killed Maria, instead of conveying the original message of where Tony should meet with her. Juliet fakes her death, but an explanatory message sent to Romeo is delayed, causing him not to know her death is but feigned. Tony seeks out Chino in misery, wishing to die also. Romeo wishes to visit Juliet's grave to take poison and die with her.
Productions[edit]
Original Broadway production[edit]
After auditions in Washington, D.C. and Philadelphia beginning in August 1957, the original Broadway production opened at the Winter Garden Theatre on September 26, 1957 to positive reviews. The production was directed and choreographed by Jerome Robbins, produced by Robert E. Griffith and Harold Prince and starred Larry Kert as Tony, Carol Lawrence as Maria, Chita Rivera as Anita and David Winters as Baby John, the youngest of the gang members. Robbins won the Tony Award for Best Choreographer, and Oliver Smith won the Tony for Best Scenic Designer. Also nominated were Carol Lawrence, as Best Actress in a Supporting Role in a Musical, Max Goberman as Best Musical Director and Conductor, and Irene Sharaff for Best Costume Design. Carol Lawrence received the 1958 Theatre World Award. Lighting was designed by Jean Rosenthal. The production ran for 732 performances at the Winter Garden Theatre before touring and then returning to the Winter Garden Theatre in 1960 for another 253 performance engagement.
The other principal or notable cast members in the original production were: Anybodys: Lee Becker, Riff: Michael Callan, A-Rab: Tony Mordente, Action: Eddie Roll, Big Deal: Martin Charnin, Gee-Tar: Tommy Abbott; Velma: Carole D'Andrea, Bernardo: Ken Le Roy, Chino: Jamie Sanchez, Nibbles: Ronnie Lee; Rosalia: Marilyn Cooper, Consuelo: Reri Grist, Teresita: Carmen Gutierrez, Francisca: Elizabeth Taylor; Lt. Schrank: Arch Johnson, Doc: Art Smith, and Krupke: William Bramley.
Original London production[edit]
The 1958 European premiere at the Manchester Opera House transferred to London, where it opened at Her Majesty's Theatre in the West End on Friday December 12, 1958 and ran until June 1961 with a total of 1,039 performances. Robbins directed and choreographed, and it was co-choreographed by Peter Gennaro, with scenery by Oliver Smith. Featured performers were George Chakiris, who won an Academy Award as Bernardo in the 1961 film version, as Riff, Marlys Watters as Maria, Don McKay as Tony, and Chita Rivera reprising her Broadway role as Anita.[29] David Holliday, who had been playing Gladhand since the London opening, took over as Tony, playing opposite Roberta D'Esti's Maria, and Mary Preston as Anita.
In February 1962, the West End (H. M. Tennent) production launched a five-month Scandinavian tour opening in Copenhagen, continuing to Oslo, Goteborg, Stockholm and Helsinki. Robert Jeffrey took over from David Holliday as Tony and Jill Martin played Maria.
1980 Broadway revival[edit]
A Broadway revival opened at the Minskoff Theatre on February 14, 1980 and closed on November 30, 1980, after 333 performances. It was directed and choreographed by Robbins, with the book scenes co-directed by Gerald Freedman; produced by Gladys Nederlander and Tom Abbott and Lee Becker Theodore assisted the choreography reproduction.[30] The original scenic, lighting, and costume designs were used. It starred Ken Marshall as Tony, Hector Jamie Mercado as Bernardo, Josie de Guzman as Maria, and Debbie Allen as Anita. Both de Guzman and Allen received Tony Award nominations as Best Featured Actress in a Musical, and the musical was nominated as Best Reproduction (Play or Musical). Allen won the Drama Desk Award as Outstanding Featured Actress in a Musical. Other notable cast members in the revival included Brent Barrett as Diesel, Harolyn Blackwell as Francisca, Stephen Bogardus as Mouth Piece, Reed Jones as Big Deal, Mark Morales as Chino, and Sammy Smith as Doc.
Several dances from West Side Story were included in the Tony Award-winning 1989 Broadway production, Jerome Robbins' Broadway.
2009 Broadway revival[edit]
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."[31] 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.[32][33] The production wove Spanish lyrics and dialogue into the English libretto. The translations are by Tony Award winner Lin-Manuel Miranda. Laurents stated, "The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to have authenticity. Every member of both gangs was always a potential killer even then. Now they actually will be. Only Tony and Maria try to live in a different world".[34][35][36] 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.[37] However, the Spanish lyrics sung by the Sharks in the "Tonight" (Quintet) remained in Spanish.
The cast featured Matt Cavenaugh as Tony, Josefina Scaglione as Maria and Karen Olivo as Anita.[38] Olivo won the Tony Award for Best Featured Actress, while Scaglione was nominated for the award for Leading Actress.[39][40] The cast recording won the Grammy Award for Best Musical Show Album.[41] In July 2010, the producers reduced the size of the orchestra, replacing five musicians with an off-stage synthesizer.[42] The production closed on January 2, 2011 after 748 performances and 27 previews.[43] The revival sold 1,074,462 tickets on Broadway over the course of nearly two years.[44]
Other productions[edit]
The New York City Center Light Opera Company production opened on April 8, 1964 at the New York City Center and closed May 3, 1964 after a limited engagement of 31 performances. Tony was Don McKay, Maria was Julia Migenes and Anita was played by Luba Lisa. It was staged by Gerald Freedman based on Robbins' original concept, and the choreography was re-mounted by Tom Abbott.
The Musical Theater of Lincoln Center and Richard Rodgers production opened at the New York State Theater, Lincoln Center, on June 24, 1968 and closed on September 7, 1968 after 89 performances. Direction and choreography were reproduced by Lee Theodore, and scenery was by Oliver Smith. Tony was Kurt Peterson and Maria was Victoria Mallory.
National Tours[edit]
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.[45] A bus and truck (non-Equity) tour was produced in 1998 by City Vision Theatricals.[citation needed] A national tour, directed by Alan Johnson, was produced in 2002.[46]
A national tour of the 2009 Broadway revival began in October 2010 at the Fisher Theatre in Detroit, Michigan.[47] The cast features Kyle Harris as Tony and Ali Ewoldt as Maria.[48] After a very successful year, the tour was sent out for another year.[49][50] A Non-equity tour version of the 2009 Revival, presented by Troika Entertainment, is planned for fall 2012.[51]
Regional productions[edit]
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),[52] and Banff Musical Theatre (1984) were among the first smaller regional companies to produce it. Michigan Opera Theatre was the first major American Opera Company to produce West Side Story in late 1985.
In 1986 Starlight Theatre of Kansas City in Kansas City, MO presented a production and in 1989 North Shore Music Theatre in Beverly, MA had a very successful production. Both of these productions were directed by Jack Allison and choreographed by Thom Warren
International productions[edit]
In 1961, a tour of Israel, Africa and the Near East was mounted. The Japanese Takarazuka Revue has also performed the show twice. It was produced by the Moon Troupe in 1998 and again in 1999 by the Star Troupe. A Hong Kong production was produced in 2000 with Cantonese lyrics, featuring Hong Kong rock star Paul Wong as Tony. It was staged at the outdoor plaza of Hong Kong Cultural Center.
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.
From 1982–1984 a tour of South America, Israel and Europe was mounted with talent from New York. Included in the cast were Thom Warren, Richard Renzaneth, John Charles Kelly, Pamela Khoury, Michael McCord,and RJ Peters. The Director/Choreographers for that production were Jay Norman and Lee Theodore, veterans of the Original Broadway Cast.
A UK national tour started in 1997 and starred David Habbin as Tony, Katie Knight Adams as Maria and Anna-Jane Casey as Anita. The production was very well received and transferred to London's West End opening at the Prince Edward Theatre in October 1998, transferring to the Prince of Wales Theatre where it closed in January 2000. The production subsequently toured the UK for a second time.[53]
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.[54] A French language adaptation, translated by Philippe Gobeille, opened in Montreal, Quebec in March 2008.[55] A Philippine version premiered on September 5, 2008 at the Meralco Theatre. It featured Christian Bautista as Tony, Karylle and Joanna Ampil as Maria.[56] In 2008, an adaptation played in Portugal, directed by Filipe La Féria, 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 Bárbara Barradas and Cátia Tavares playing Maria. Anita is portrayed by Lúcia Moniz and Anabela.
In 2007, the Fulton Opera House in Lancaster, Pennsylvania and 5th Avenue Theatre in Seattle, Washington were the only professional theaters in the United States to be granted the production rights to West Side Story on the 50th anniversary of its Broadway opening. To mark the occasion, the Fulton joined with the Lancaster Symphony Orchestra for the first time to supply the musical score under the direction of Maestro Stephen Gunzenhauser. The production, during the Fulton's 155th season, ran from September 6, 2007 to September 30, 2007.[57]
An international tour (2005–2010), directed and choreographed by Joey McKneely and produced by BB Promotion played in Tokyo, Paris, Austria, Switzerland, Germany, Singapore, São Paulo, France, Taiwan, China, Italy, Rotterdam and Madrid.[58][59]
Canada's Stratford Shakespeare Festival performed West Side Story in 1999, starring Tyley Ross as Tony and Ma-Anne Dionisio as Maria, and again in 2009,[60] with Chilina Kennedy as Maria and Paul Nolan as Tony. Gary Griffin directed.
In June 2011, a Lima production was produced by "Preludio Asociación Cultural" with Marco Zunino as Tony, Rossana Fernández-Maldonado as Maria, Jesús Neyra as Bernardo, Tati Alcántara as Anita and Joaquín de Orbegoso as Riff.[61]
In December 2011, an Indonesia production was produced by Nino Theatre with Manda Alaysia as Maria, Bimo Reisnanda as Bernardo, Zara Fathy as Anita, Ton Dorino as Riff.
In May 2012, a Belarusian production directed by Anastasia Grinenko (Belarus), with choreography by Paul Emerson (USA) and Dmitry Yakubovich (Belarus) opened at the Belarus State Musical Theatre.
Critical reaction[edit]
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:[62]

The radioactive fallout from West Side Story must still be descending on Broadway this morning. Director, choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons .... the show rides with a catastrophic roar over the spider-web fire-escapes, the shadowed trestles, and the plain dirt battlegrounds of a big city feud ... there is fresh excitement in the next debacle, and the next. When a gang leader advises his cohorts to play it "Cool", the intolerable tension between an effort at control and the instinctive drives of these potential killers is stingingly graphic. When the knives come out, and bodies begin to fly wildly through space under buttermilk clouds, the sheer visual excitement is breathtaking .... Mr. Bernstein has permitted himself a few moments of graceful, lingering melody: in a yearning "Maria", in the hushed falling line of "Tonight", in the wistful declaration of "I Have a Love". But for the most part he has served the needs of the onstage threshing machine ... When hero Larry Kert is stomping out the visionary insistence of "Something's Coming" both music and tumultuous story are given their due. Otherwise it's the danced narrative that takes urgent precedence ...
The other reviews generally joined in speculation about how the new work would influence the course of musical theatre. Typical was John Chapman's review in the New York Daily News on September 27, 1957, headed: "West Side Story a Splendid and Super-Modern Musical Drama".

The American theatre took a venturesome forward step when the firm of Griffith & Prince presented West Side Story at the Winter Garden last evening. This is a bold new kind of musical theatre – a juke-box Manhattan opera. It is, to me, extraordinarily exciting .... the manner of telling the story is a provocative and artful blend of music, dance and plot – and the music and the dancing are superb. In [the score], there is the drive, the bounce, the restlessness and the sweetness of our town. It takes up the American musical idiom where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it marks the progression of an admirable composer ...
Time magazine found the dance and gang warfare more compelling than the love story and noted that the show's "putting choreography foremost, may prove a milestone in musical-drama history ..."[63][64]

While critics speculated about the comic-tragic darkness of the musical, audiences were captivated. The story appealed to society's undercurrent of rebellion from authority that surfaced in 1950s films like Rebel without a Cause. West Side Story took this one step further by combining the classic and the hip. Robbins' energetic choreography and Bernstein's grand score accentuated the satiric, hard-edged lyrics of Sondheim, and Laurents' capture of the angry voice of urban youth. The play was criticized for glamorizing gangs, and its portrayal of Puerto Ricans and lack of authentic Latin casting were weaknesses. 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 effects 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 show's 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."
Score[edit]
Orchestration[edit]
The score for West Side Story was orchestrated by Sid Ramin and Irwin Kostal following detailed instructions from Bernstein, who then wrote revisions on their manuscript (the original, heavily annotated by Ramin, Kostal and Bernstein himself is in the Rare Books and Manuscripts Library at Columbia University).[65] Ramin, Kostal, and Bernstein are billed as orchestrators for the show.
The licensed orchestration is as follows:[66]
5 Woodwinds
Reed I (Alto Saxophone/Bass Clarinet/Clarinet/Flute/Piccolo)Reed II (Bb Clarinet/Bass Clarinet/Eb Clarinet)Reed III (Bb Clarinet/Baritone Saxophone/Bass Clarinet/English Horn/Flute/Oboe/Piccolo/Tenor Saxophone)Reed IV (Bass Clarinet/Bass Saxophone/Clarinet/Flute/Piccolo/Soprano Sax)Reed V (Bassoon)2 Horns in F
3 Trumpets in Bb (2nd doubling Trumpet in D)
2 Trombones
5 Percussion
Timpani (1 player)Drums (1 player – Trap Set)Percussion (3 players – Vibraphone, 4 Pitched Drums, Xylophone, 3 Bongos, 3 Cowbells, Conga, Timbales, Snare Drum, Police Whistle, Gourd, 2 Suspended Cymbals, Castanets, Maracas, Finger Cymbals, Tambourines, Small Maracas, Glockenspiel, Woodblock, Claves, Triangle, Temple Blocks, Chines, Tam-tam, Ratchet, Slide Whistle)1 Keyboard (Piano/Celesta)
1 Guitar (Electric/Spanish/Mandolin)
7 Violins
4 Celli
1 Bass
Symphonic Dances from West Side Story[edit]
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)
8.Rumble (Molto Allegro)
9.Finale (Adagio)
Recordings[edit]
Recordings of West Side Story include:
The 1957 original Broadway cast album, with Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita.
A 1959 recording by the pianist André Previn comprised jazz versions of eight songs from the musical.
The movie soundtrack, with Marni Nixon singing Maria's role (played in the film by Natalie Wood) and Tony (played in the film 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 film. The 2004 re-release added the "Intermission" music.
In 1961, Cal Tjader released a jazz version, arranged by Clare Fischer, on Fantasy Records. The album was released again in 2002 as Cal Tjader Plays Harold Arlen & West Side Story (double CD).
In 1961, Stan Kenton recorded 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 film 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 "Broadway's 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 "Something's Coming" for her album "12 Of Those Songs"
In 1969, progressive rock band Yes covered the song "Something's Coming" as the B-side to their first single "Sweetness".
In 1984, Bernstein decided to re-record the musical, conducting his own music for the first time. Generally known as the "operatic version" of West Side Story, it stars Kiri Te Kanawa as Maria, José Carreras as Tony, Tatiana Troyanos as Anita, Kurt Ollmann as Riff, and Marilyn Horne as the offstage voice who sings "Somewhere". It won a Grammy Award for Best Musical Show Album in 1985 and the recording process was filmed as a documentary. It 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.
In 1985, Barbra Streisand recorded "Something's 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 first recording to document the full score including the overture performed by Britain's National Symphony Orchestra using cast members of the 1992 Leicester Haymarket Theatre production.
In 1994, Mandy Patinkin recorded a cover of "Something's 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 benefit the Leonard Bernstein Education Through The Arts Fund, the NARAS Foundation and The Leonard Bernstein Center at Nashville, Tennessee.
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 Story's 50th anniversary. This album stars Hayley Westenra as Maria and Vittorio Grigolo as Tony. The Bernstein Foundation in New York has authorized the recording.[67] 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 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 Josefina Scaglione as Maria, Matt Cavenaugh as Tony and Karen Olivo as Anita won the 2009 Grammy Award for Best Musical Show Album.[41]
Film[edit]
Main article: West Side Story (film)
On October 18, 1961, a film adaptation of the musical was released. It received praise from critics and the public, and became the second highest grossing film of the year in the United States. The film won ten Academy Awards in its eleven nominated categories, including Best Picture, as well as a special award for Robbins. The film holds the distinction of being the musical film with the most Academy Award wins (10 wins), including Best Picture. The soundtrack album made more money than any other album before it.
References in popular culture[edit]

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In addition to Bernstein's 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 Rich's Swingin' New Big Band, and The Stan Kenton Orchestra, which recorded Johnny Richards' 1961 Kenton's 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.
Popular artists have recorded songs from the musical:
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, Officer 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; 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 "Something's Coming" as a single. Led Zeppelin's 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 relieve technique.
Alice Cooper incorporated the "Jet Song" into "Gutter Cat vs. The Jets" on their School's 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, 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.[68]
Michael Jackson's life had been significantly influenced by West Side Story, and he payed tributes to it in his music videos of "Beat It" (1983) and "Bad" (1987).[69] According to a West Side Story cast member David Winters, who met and befriended Jackson while choreographing the 1971 Diana Ross TV Special "Diana!", Jackson watched West Side Story almost every week and it was his favorite film.[70][71][72]
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 "Officer Krupke".[73]
David Winters, who starred in both the original Broadway production and the motion picture was greatly influenced 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 film. The influence 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 figure prominently in Winters' life in the future as they would become two of his best dancers when he became a choreographer.[74][75][76]
In 1995, punk rock band Schlong released "Punk Side Story" on Hopeless Records. The album was a re-recording of the original soundtrack done in various punk styles, including hardcore, street punk, and third wave ska.
The song "Tonight, Tonight" was used in a 1998 Mountain Dew commercial.
In an episode of That 70's Show, Donna and Jackie reference West Side Story, and Fez's daydream sequence resembles a scene from it.
Photographer Mark Seliger re-created scenes from the film 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 Riff. 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.[77]
Pixar animator Aaron Hartline used the first meeting between Tony and Maria as inspiration for the moment when Ken meets Barbie in Toy Story 3.[78]
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".[79] The show's 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".[80][81]
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.
In the Friends sitcom episode "The One With Chandler's Dad" (season 7 episode 22) Chandler's dad briefly sings the chorus of "I Feel Pretty" during his cross-dressing burlesque show. The audience shouts the word "gay!" in unison.
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".
A recording of "I Feel Pretty" has been featured in North American commercials for Pampers diapers since 2012 as well as a commercial for Aquafina.
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.
Awards and nominations[edit]
Original Broadway production[edit]

Year
Award Ceremony
Category
Nominee
Result
1958 Theatre World Award Carol Lawrence Won
Tony Award Best Musical Nominated
Best Performance by a Featured Actress in a Musical Carol Lawrence Nominated
Best Choreography Jerome Robbins Won
Best Scenic Design Oliver Smith Won
Best Costume Design Irene Sharaff Nominated
Best Conductor and Musical Director Max Goberman Nominated
1980 Broadway revival[edit]

Year
Award Ceremony
Category
Nominee
Result
1980 Drama Desk Award Outstanding Featured Actress in a Musical Debbie Allen Won
Tony Award Best Revival of a Musical Nominated
Best Performance by a Featured Actress in a Musical Josie de Guzman Nominated
Debbie Allen Nominated
2008 West End revival[edit]

Year
Award Ceremony
Category
Nominee
Result
2009 Laurence Olivier Award Best Musical Revival Nominated
Best Actress in a Musical Sofia Escobar Nominated
2009 Broadway revival[edit]

Year
Award Ceremony
Category
Nominee
Result
2009 Tony Award Best Revival of a Musical Nominated
Best Performance by a Leading Actress in a Musical Josefina Scaglione Nominated
Best Performance by a Featured Actress in a Musical Karen Olivo Won
Best Lighting Design Howell Binkley Nominated
Drama Desk Award Outstanding Revival of a Musical Nominated
Outstanding Featured Actress in a Musical Karen Olivo Nominated
Grammy Award Best Musical Show Album Won
Theatre World Award Josefina Scaglione Won
Notes[edit]
1.Jump up ^ Sarah Waxman, "The History of the Upper West Side" ny.com http://www.ny.com/articles/upperwest.html
2.Jump up ^ "About Lincoln Center", City Realty, http://www.cityrealty.com/nyc/
3.Jump up ^ "'West Side Story plot and production listing" guidetomusicaltheatre.com, accessed August 18, 2011
4.Jump up ^ http://ibdb.com/production.php?id=2639
5.Jump up ^ 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 0-8264-1462-1, p. 96
6.^ Jump up to: a b Information from a Leonard Bernstein.com[dead link]
7.Jump up ^ Laurents 2000, pp. 329–330.
8.Jump up ^ "Excerpts from Bernstein's West Side Log, see 1949 and 1955" WestSideStory.com, originally published in 1957, accessed August 18, 2011
9.Jump up ^ Laurents 2000, p. 334.
10.Jump up ^ Laurents 2000, pp. 336–43.
11.Jump up ^ Laurents 2000, pp. 346–47.
12.Jump up ^ Gottlieb, Jack (Guide and Commentary). "'West Side Story' Fact Sheet". WestSideStory.com, 2001, accessed August 18, 2011
13.Jump up ^ Laurents 2000, p. 349.
14.Jump up ^ Laurents 2000, pp. 350–51.
15.Jump up ^ 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.
16.^ Jump up to: a b c d Burton, Humphrey. "Leonard Bernstein by Humphrey Burton, Chapter 26" WestSideStory.com, 1994, accessed August 18, 2011.
17.Jump up ^ Laurents, Arthur (August 4, 1957). "The Growth of an Idea". New York Herald Tribune.
18.Jump up ^ Laurents 2000, pp. 351–52.
19.Jump up ^ Laurents 2000, pp. 326–28.
20.Jump up ^ Laurents 2000, p. 354.
21.Jump up ^ Laurents 2000, pp. 354–56.
22.Jump up ^ Wenner, Jann S.; Levy, Joe (2007). "Leonard Bernstein". The Rolling Stone Interviews. New York: Back Bay Books. ISBN 0-316-00526-6.
23.Jump up ^ Roberts, Terri (Winter 2003). "West Side Story: 'We were all very young'". The Sondheim Review 9 (3).
24.Jump up ^ Laurents 2000, pp. 357–58.
25.Jump up ^ Laurents 2000, pp. 360–61.
26.Jump up ^ Laurents 2000, pp. 362–65.
27.Jump up ^ 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 0-02-872625-1.
28.Jump up ^ Suskin, Steven (2010). Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers (4th ed.). New York: Oxford University Press US, p. 206. ISBN 0-19-531407-7.
29.Jump up ^ "'West Side Story' London Production, 1958" Broadwayworld.com, accessed August 18, 2011
30.Jump up ^ "West Side Story: Opening Night Production Credits". PlaybillVault. Playbill. Retrieved December 28, 2011.
31.Jump up ^ Riedel, Michael. "Director's Cut – At 90, Playwright Still Vibrant, Vicious", New York Post, July 27, 2007, p.55
32.Jump up ^ Gans, Andrew. "Laurents-Directed 'West Side Story' Sets Broadway Preview Date" Playbill.com, May 23, 2008
33.Jump up ^ Gans, Andrew and Jones, Kenneth. "'West Side Story' Revival, Directed by Laurents, Sets Broadway Opening Date". Playbill.com, August 8, 2008
34.Jump up ^ Jones, Kenneth. "West Side Story, This Time with Bilingual Approach". Playbill.com, July 16, 2008
35.Jump up ^ Gans, Andrew and Jones, Kenneth. "Broadway-Bound 'West Side Story' Revival Launches". Playbill.com, December 15, 2008
36.Jump up ^ Marks, Peter (December 14, 2008). "The Director's Route Back To 'West Side'". The Washington Post.
37.Jump up ^ Gans, Andrew. "A Song Like That: Collaborators Reconsider Spanish Lyrics in 'West Side Story'". Playbill.com, August 25, 2009
38.Jump up ^ Gans, Andrew. "Cavenaugh, Scaglione, Olivo, Green and Akram to Lead Cast of 'West Side Story' Revival". Playbill.com, October 28, 2008
39.Jump up ^ Jones, Kenneth. "Billy Elliot, Norman Conquests, Hair, God of Carnage Are Tony Award Winners". Playbill.com, June 8, 2009
40.Jump up ^ Gans, Andrew and Jones, Kenneth. "Nominations for 2009 Tony Awards Announced; Billy Elliot Earns 15 Nominations". Playbill.com, May 5, 2009
41.^ Jump up to: a b Jones, Kenneth. " 'West Side Story' Cast Album Wins Grammy Award". Playbill.com, January 31, 2010
42.Jump up ^ Woodiel, Paul (July 10, 2010). "Gee, Officer Krupke, I Need Those Violins". The New York Times. Retrieved December 17, 2010.
43.Jump up ^ Gans, Andrew. Broadway "Revival of 'West Side Story' to Close in January; Olivo Will Not Return". Playbill.com, September 15, 2010
44.Jump up ^ "Cumulative Broadway Grosses by Show". Broadwayworld.com, accessed August 18, 2011
45.Jump up ^ Frank, Leah (August 30, 1987). "Theater Review; 'West Side Story': Staging At Its Best". The New York Times.
46.Jump up ^ Information from the WestSideStory.com "2002 West Side Story tour archives" Westsidestory.com
47.Jump up ^ Gans, Andrew. " 'West Side Story' National Tour to Launch in October". Playbill, February 5, 2010
48.Jump up ^ "Grammy Award-Winning Smash Hit 'West Side Story' Launches National Tour at Detroit's Fisher Theatre" broadwayindetroit.com, September 16, 2010, accessed August 18, 2011
49.Jump up ^ "Ross Lekites, Evy Ortiz Join Cast of WEST SIDE STORY National Tour". Broadwayworld.com. October 3, 2011. Retrieved February 4, 2012.
50.Jump up ^ "Photo Flash: New Cast Joins WEST SIDE STORY National Tour!". Broadwayworld.com. October 28, 2011. Retrieved February 4, 2012.
51.Jump up ^ "Welcome to". Troika.com. Retrieved February 4, 2012.
52.Jump up ^ "Pittsburgh CLO History of Shows". Pittsburgh CLO website. Archived from the original on May 19, 2011. Retrieved May 19, 2011.
53.Jump up ^ albemarle-london "Archive Page, 'West Side Story'" albemarle-london.com, accessed August 18, 2011
54.Jump up ^ "'West Side Story' News, Bregenz Festival" westsidestory.com, accessed August 18, 2011
55.Jump up ^ Information about the translation (in French only) westsidestory08.com,[dead link]
56.Jump up ^ "'West Side Story' at the Meralco Theater this September" Thefilipinoweb, July 2, 2008, accessed August 18, 2011
57.Jump up ^ Fulton Theatre listing Fulton Theatre, accessed August 17, 2008
58.Jump up ^ Lash, Larry (November 12, 2007). "West Side Story". Variety. Retrieved August 17, 2008.
59.Jump up ^ Loveridge, Lizzie. " 'West Side Story' 50th Anniversary Production" Curtain Up, August 1, 2008, accessed August 17, 2008
60.Jump up ^ Ouzounian, Richard (June 8, 2009). "This Story achieves greatness". The Star (Toronto).
61.Jump up ^ Marco Zunino y Rossana Fernández Maldonado protagonizan Amor sin barreras La República Perú, accesed June 1, 2011
62.Jump up ^ Kerr, Walter (September 27, 1957). "'West Side Story'". New York Herald Tribune.
63.Jump up ^ "Theater: New Musical in Manhattan ('West Side Story')". Time Magazine, October 7, 1957
64.Jump up ^ Gianoulis, Tina (January 29, 2002). "'West Side Story'". St. James Encyclopedia of Pop Culture. Retrieved August 19, 2011.
65.Jump up ^ See Simeone, Nigel (2009) "Leonard Bernstein: West Side Story", pp. 85–92: 'Sid Ramin and Irwin Kostal: Orchestrating the Show'
66.Jump up ^ "West Side Story". West Side Story. westsidestory.com. Retrieved December 28, 2011.
67.Jump up ^ Album reviews, Manchester Evening News, 2007-08-06, accessed August 13, 2007
68.Jump up ^ Joel Whitburn, Top Pop Singles 1955–1999 (Menomonee Falls, WI: Record Research, 2000).
69.Jump up ^ Jones, Jel (2005). Michael Jackson, the King of Pop ... – Google Books. Google Books. ISBN 978-0-9749779-0-4. Retrieved September 2, 2009.
70.Jump up ^ Winters, David. "David Winters remembers Michael Jackson" magickpapers.com (blog), June 26, 2009
71.Jump up ^ Winters, David. "David Winters remembers Michael Jackson" democraticunderground.com (blog), June 26, 2009
72.Jump up ^ Hernandez, Eugene. "Remembering Michael Jackson, On Screen" indiewire.com, June 27, 2009
73.Jump up ^ "'Curb Your Enthusiasm', Season 7, Episode 68, 'Officer Krupke'" HBO.com, accessed August 19, 2011
74.Jump up ^ "David Winters Credits" Internet Movie Database, accessed August 19, 2011
75.Jump up ^ "Teri Garr Credits" Internet Movie Database, accessed August 19, 2011
76.Jump up ^ "Toni Basil Credits" Internet Movie Database, accessed August 19, 2011
77.Jump up ^ Seliger, Mark (March 17, 2009). "West Side Story Revisited". Vanity Fair. Retrieved July 18, 2010.
78.Jump up ^ Hartline, Aaron. "Ken meets Barbie – A Toy Side Story" aaronhartline.blogspot.com (blog), accessed August 19, 2011
79.Jump up ^ http://voices.yahoo.com/i-feel-pretty-unpretty-lady-gaga-episode-glee-8391755.html
80.Jump up ^ http://www.rollingstone.com/movies/news/glee-recap-west-side-story-auditions-and-the-return-of-shelby-corcoran-20110928
81.Jump up ^ http://broadwayworld.com/article/WORLD-PREMIERE-EXCLUSIVE-GLEE-Takes-On-WEST-SIDE-STORYs-Somethings-Coming-With-Darren-Criss-20110926#
Further reading[edit]
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. Europäische Einflüsse 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
Vaill, A. (2006) Somewhere: The Life of Jerome Robbins Broadway Books, New York, ISBN 0-7679-0420-6
Wells, Elizabeth A. (2010) West Side Story: Cultural Perspectives on an American Musical Scarecrow Press, Lanham, Maryland, ISBN 978-0-8108-7666-8
Williams, Mary E. (editor) (2001) Readings on West Side Story Greenhaven Press, San Diego, California, ISBN 0-7377-0694-5
External links[edit]
 Wikimedia Commons has media related to West Side Story (musical).
 Wikiquote has a collection of quotations related to: West Side Story
West Side Story at the Internet Broadway Database
The Official West Side Story website
West Side Story at the Music Theatre International website
The Official 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

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West Side Story (film)

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West Side Story
West Side Story poster.jpg
Theatrical release poster by Joe Caroff
 
Directed by
Robert Wise
Jerome Robbins
Produced by
Robert Wise
Screenplay by
Ernest Lehman
Based on
West Side Story
 by Jerome Robbins
Arthur Laurents
Starring
Natalie Wood
Richard Beymer
Russ Tamblyn
Rita Moreno
George Chakiris
Music by
Leonard Bernstein
Lyrics:
Stephen Sondheim
Cinematography
Daniel L. Fapp
Editing by
Thomas Stanford
Studio
Mirisch Pictures
Distributed by
United Artists
Release date(s)
October 18, 1961
 
Running time
152 minutes[1]
Country
United States
Language
English
 Spanish
Budget
$6 million
Box office
$43,700,000
West Side Story is a 1961 American musical film directed by Robert Wise and Jerome Robbins. The film is an adaptation of the 1957 Broadway musical of the same name, which in turn was inspired by William Shakespeare's play Romeo and Juliet. It stars Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno and George Chakiris and was photographed by Daniel L. Fapp, A.S.C., in Panavision 70.
The film opens with a sequence of aerial views of Manhattan that begins at the southern tip and moves north, soaring silently over the vertical topography of Lower Manhattan and Midtown, and stops and descends to ground level in the Upper West Side's Lincoln Square neighborhood, in the area where the Lincoln Center for the Performing Arts now stands. Veteran director Robert Wise was chosen as the director and producer for his experience with urban New York dramas such as Odds Against Tomorrow. Wise had not previously directed a musical and when it was suggested that Jerome Robbins, who had directed the stage version, be brought in to direct the musical and dance sequences, Wise agreed. After about one third of the movie had been shot, the Mirisch Company, which had become increasingly concerned that the production was running over-budget, dismissed Robbins. According to Saul Chaplin in his autobiography, Robbins nearly suffered a nervous breakdown during the time he worked on the film. The remaining dance numbers were directed with the help of Robbins' assistants. Recognizing Robbins' considerable creative contribution to the film, Wise agreed that Robbins should be given co-directing credit, even though Wise directed the greater part of the film. The ending title sequence was created by Saul Bass, who is also credited as "visual consultant" on the film.
The film was released on October 18, 1961, through United Artists. It received praise from critics and the public, and became the second highest grossing film of the year in the United States. The film won ten Academy Awards in its eleven nominated categories, including Best Picture, as well as a special award for Robbins. West Side Story holds the distinction of having won more Academy Awards than any other musical film (unless one counts the Honorary Award given to Maurice Chevalier in 1959, the year that Gigi won its nine Oscars).

Contents
  [hide] 1 Plot summary 1.1 Act I
1.2 Act II
2 Cast 2.1 Jets
2.2 Jet Girls
2.3 Sharks
2.4 Shark Girls
3 Musical numbers
4 Differences from the stage show
5 Casting
6 Reception
7 Awards and honors 7.1 Academy Awards
7.2 Others
8 Score and soundtrack
9 Restoration
10 References
11 External links
Plot summary[edit]
Although the plot summary here is divided into two acts, and the film was originally intended to have two acts, it was finally decided[by whom?] that it would work better without an intermission, in order to increase the tension in the plot.[citation needed]
Act I[edit]
The film opens in the streets of the West Side of Manhattan in the late summer of 1957. There is a mounting tension set to music ("Prologue") between a white American gang, the Jets, led by Riff Lorton, and a rival gang of Puerto Rican immigrants, the Sharks, led by Bernardo Nuñez. The Jets harass the Sharks and vice versa, culminating in a free-for-all throughout the streets. Eventually, the Sharks catch the youngest member of the Jets, Baby John, on the playground. As they begin to "bloody" him, all the other Jets and Sharks rush in and start brawling. Soon, Lieutenant Schrank and Officer Krupke arrive and break up the melee. Schrank insists that he will not tolerate any more fighting on his beat, and orders the Sharks off the playground and the Jets "to make nice with them Puerto Ricans" or there will be a price to pay. Once Schrank and Krupke are gone, Anybodys, a tomboy who was in the fight, pleads with Riff to be in the gang, but is rebuffed. The Jets discuss challenging the Sharks to an all out rumble that will decide who gets control of the streets, and decide to deliver the challenge to the Sharks at a dance later that night, because it is neutral territory. Riff also explains to the Jets that they have seen other gangs (the Emeralds and the Hawks) come and go, but the Jet members state that the Sharks are different compared to the other gangs. However, Riff eases the statement, that no matter the odds or the situation the Jets will always pull through.
Riff decides that his best friend Tony Wyzek, a co-founder of the Jets who has left the gang to work at a local candy/drug store, would be the best member to present the challenge to the Sharks because he has always come through for the Jets ("Jet Song"). Riff visits Tony at the store and asks him to come to the dance, but Tony is not interested in fighting anymore. He tells Riff that he senses something very important is about to happen to him. After a little cajoling from Riff, Tony changes his mind and agrees to meet him and the Jets at the dance, in case it is there that he will discover that "something" ("Something's Coming").
Meanwhile Maria Nunez, Bernardo's younger sister, who has been living in America for about a month, but is extremely sheltered, expresses her excitement to be attending the dance, to her best friend Anita, who is also Bernardo's girlfriend. However, she isn't very excited about Chino, another Shark member to whom she is to eventually be married to. Eventually Bernardo and Chino arrive to take them to the dance, but Bernardo acts very protective of his sister. At the dance, which is held at the gym, the Jets, Sharks, and girls are greatly enjoying themselves ("Dance at the Gym"), but there is still tension in the air. The host of the dance, social worker Glad Hand, tries to ease the obvious tension, by getting the members of the rival gangs to dance together. Even so, the rival gang members and their girlfriends remain apart. Tony eventually arrives, during a mambo, and he and Maria see each other, become infatuated, going into a trance-like state, and begin to dance, oblivious to the rivalry between their ethnic groups. They eventually kiss, but Bernardo angrily interrupts them. He tells Tony to stay away from his sister, and orders Chino to take her home. It's at this point that Riff proposes a "war council" with Bernardo, who agrees to meet at Doc's drug store after the dance. Tony leaves in a happy daze, singing of his newfound love ("Maria").
Maria is sent home, and Anita argues with Bernardo that he is being overprotective of Maria, and that they are in America, not Puerto Rico. At the Sharks' apartment building, Anita and other girls from Puerto Rico engage in a spirited argument with Bernardo in defense of Maria's right to dance with whomever she pleases. They debate the advantages and disadvantages of their country, where the girls talk about the freedom and the dreams, while the boys sing of the prejudice and poverty they have encountered. ("America"). Eventually the women and the men disperse as Bernardo and his gang go to the war council.
Tony discreetly visits Maria outside the fire escape at her home, but Maria is concerned because of their ethnic differences, and is fearful that her parents will feel the same way as Bernardo. But they still affirm their love for each other. ("Tonight"). They arrange to meet the next day at the bridal shop where Maria works. Meanwhile, the Jets gather outside of Doc's store to wait for the Sharks. Anybodys continues to plead to be in the gang but is again rebuffed by Riff, and mocked by Riff's girlfriend, Grazalla. The Jets are visited by Officer Krupke, who had been at the dance and knows they are up to no good, and he warns them not to cause trouble on his beat. After he leaves, they lampoon him and the various theories of how to deal with juvenile delinquency ("Gee, Officer Krupke!"). Doc is about to close the store, but the Jets convince him to stay open. Doc tries to talk the Jets out of fighting but they do not listen. The Sharks finally arrive and the war council begins. In the middle of this, Tony arrives and calls them chickens for having to fight with weapons. He demands that they have a fair one-on-one fist fight instead of an all-out rumble. The gang leaders agree, with Bernardo representing the Sharks and Ice representing the Jets (much to Bernardo's disappointment, as he was hoping to face Tony). They are soon alerted of Lieutenant Schrank's arrival, so the gangs quickly intermix together and feign happiness and fun. Schrank pretends that it is a good thing that they are getting along and remarks he might even get a promotion, but he knows what they are up to. Schrank stamping orders the Puerto Ricans out (while they whistle "My Country, 'Tis of Thee"), then asks the Jets where the rumble is taking place, saying he's on their side and that he will even help them fight off the Sharks himself. When they deliberately don't reply, he deliberately angers several members with sarcastic and insulting comments including A-Rab (Implying that his father is an alcoholic) and especially Action, (Implying that his mother is a prostitute), who almost attacks Schrank, but is restrained by the other Jets much to the lieutenant's pleasure. Soon, the Jets disperse and Schrank angrily leaves as well, leaving Tony and Doc alone in the store to clean up. Tony, who is in a good mood, surprises Doc and tells him about his love for Maria, leaving Doc fearful. The day comes to an end as a distressed Doc closes the store and Tony leaves.
Act II[edit]
The next day at Madam Lucia's bridal shop, Maria sings to her co-workers about how happy and excited she is ("I Feel Pretty"). After everyone except Maria and Anita leaves, Anita tells Maria about the impending rumble accidentally, as Anita plans to prepare for a date with Bernardo afterwards. Maria questions why Bernardo and his gang have to fight with the boys from the dance, and Anita, who isn't sure herself, replies it's just heavy emotion. Anita tells Maria to come home with her, but Maria insists that she wants to close the store by herself because she has work to do. Suddenly, Tony arrives to see Maria, leaving Anita in shock. Tony tells Anita of his and Maria's love, and Anita mocks Maria. Anita, despite her shock, shows some tolerance but worries about the consequences if Bernardo were to find out. Anita leaves them alone, but not without warning Maria that she'd better be home ASAP. Maria pleads with Tony to prevent the rumble altogether, even if it is only a fist fight, and Tony promises to do so. Then Tony and Maria, using clothes in the bridal shop, fantasize about their wedding ("One Hand, One Heart"). They use the headless mannequins as their parents, best man (Riff) and Maid of Honor (Anita). They exchange wedding vows and kiss.
A musical montage ("Quintet") intertwines the feelings of the Jets and Sharks in anticipation of the rumble, Tony and Maria's anticipation of meeting each other, and Anita preparing for her date with Bernardo. The Jets and Sharks arrive at their agreed location for the rumble, a fenced dead-end under a stretch of New York highway. As the "fair fight" begins between Bernardo and Ice, Tony arrives and tries to stop it, but is met with ridicule and mockery from Bernardo and the Sharks, as Bernardo clearly is more interested in fighting with Tony rather than Ice, but Tony refuses to fight back. Unable to stand by and watch his best friend be humiliated, Riff angrily lashes out and punches Bernardo ("The Rumble"). Enraged, Bernardo draws a knife and Riff draws one too, and they fight each other. Tony tries to stop them, but Riff has two other Jets hold him back. Riff gets the upper hand and about to stab Bernardo but Tony manages to stop him. Riff breaks away and runs back into the fight, only to be fatally stabbed by Bernardo. Riff collapses while handing the knife to Tony and Bernardo looks shocked at what he has done. Enraged, Tony kills Bernardo with Riff's knife, resulting in a full-fledged melee, several Sharks mercilessly pounding Tony. Suddenly, police sirens blare out and the gang members flee, leaving behind the bodies of Riff and Bernardo. Tony, who initially has difficulty moving lingers and looks at Bernardo's dead body realizing in horror what he has done. He bursts into tears, and is nearly caught. However, Anybodys snaps him back to reality and he too, dashes off.
Blissfully unaware of what has happened, Maria is waiting for Tony on the roof of her apartment building, dancing around. One of the Sharks, Chino arrives with bad news that the rumble (That Maria thinks was stopped) escalated worse than planned, and Maria fears that something bad happened to Tony. Chino angrily tells her that Tony killed her brother. Maria initially refuses to believe it, but upon hearing the others talking about it, is horrified. She retreats to her room, and prays that it's not true, and then Tony arrives and Maria lashes out at him in feigned anger, but Tony explains what had happened and asks for her forgiveness before he plans to turn himself in to the police. Maria declares that she still loves Tony and begs him to stay with her forever. They reaffirm their love ("Somewhere"), share another kiss, and make love for the first time (offscreen).
Meanwhile, the Jets (with Ice now in command and joined by the Jet girls) have reassembled outside a garage. Action demands revenge for Riff's death, but Baby John as well as A-Rab, oppose it. Action yells at Baby John for being scared, As tensions flare among several Jets, Action is subdued by Ice, who pulls all of the Jets into the garage and tells them their revenge on the Sharks is not important right now, but what is, is that they act carefully at ease, as to when the cops start questioning them, or else they will pay the consequences for their actions. ("Cool"). When all of the Jets have cooled down, they each quietly file out of the garage and make their way back to Doc's Candy Store when Anybodys arrives after infiltrating the Sharks' turf and warns them that Chino is now after Tony with a gun. Ice sends the Jets to various locations to find Tony and warn him. Anybodys' persistence finally pays off as Ice asks her to search in and out of the shadows and commends her for her deed.
In Maria's bedroom, she and Tony have just finished making love. Tony puts a small mysterious box on Maria's bedroom with the words "Capullo de Rosa". The couple hear Anita arriving home, and Maria and Tony make quick, whispered arrangements to meet at Doc's drug store, where Tony will get some getaway money, and run away together to marry. Anita hears them through the door and knows that something is going on. Tony escapes through the bedroom window and flees, but Anita sees him running away. Anita chides Maria for the relationship ("A Boy Like That") and says that a man who kills is bad, but she soon softens as Maria sings back. Maria's heartfelt love ("I Have a Love") wins over Anita, and despite her grief over Bernardo's death, Anita agrees to cooperate with a plan to help Maria and Tony run away and marry because she is her friend. Anita quickly tells Maria that Chino is searching for Tony with a gun.
Schrank arrives and questions Maria about the events leading up to the rumble, but Maria is protective of Tony and lies to cover for him, saying she only danced with another Puerto Rican boy. To deceive the policeman, Maria sends Anita to Doc's drugstore on the pretense that she is fetching medicine for her headache. She asks Anita to say she has been detained, explaining she would have gone herself otherwise. Anita's real purpose is to tell Tony (who is found by Anybodys outside Maria's apartment and takes refuge in the cellar of Doc's drugstore) that Maria is detained from meeting him. But when Anita enters the drugstore and asks for Tony, the Jets (minus Ice, who is keeping an eye out for Chino) refuse to believe that Anita is here to help, and mock, harass, and mock rape her until Doc stops them. Infuriated by the attack, Anita declares that Bernardo was right about how bad they were, and gives the Jets a different message for Tony: Maria is dead, shot by Chino for loving Tony, and storms out. Doc furiously reprimands the Jets for their behavior, and throws them out of the store. Then he heads to the basement to give Tony his getaway money. Tony is in a good mood thinking only of himself, and his future with Maria, which infuriates Doc so badly that he smacks Tony across the face, and angrily reminds him of what he's done. Then he somberly delivers Anita's message to him. In shock and despair, Tony runs from the drug store to find Chino, shouting "Come and get me, too!", not knowing that Chino is actually secretly waiting for him. Anybodys sees Tony and tries to stop him, but Tony ignores her.
Now on the playground next to Doc's store, Tony suddenly sees Maria and they begin to run toward each other with joy. Suddenly, Chino appears and shoots Tony. As the Jets and other Sharks and their girls from both gangs arrive on the scene, Maria and a fatally wounded Tony reaffirm their love ("Somewhere"), but Tony dies in her arms. The two gangs prepare to fight again, but Maria stops them. She takes the gun from Chino, and threateningly points it at him, and then at everyone else, blaming everyone for the deaths of Tony, Bernardo, and Riff with their hate. With her new found hate, she threatens to kill as many of them as she can, while still leaving one bullet for herself. However, she cannot bring herself to do such a horrific deed and drops the gun before sinking to the ground, sobbing. Schrank, Krupke, and Doc arrive on the scene, and Schrank starts to intervene, but doesn't. Everyone just stands and watches as Maria softly gives Tony a final goodbye, then three of the Jets start lifting his body and two Sharks join them to help carry him off. A deeply distraught and heartbroken Maria and several Jets and Sharks walk behind them in a funeral procession, while the other Jets, Sharks, and Doc go their separate ways, and Chino is arrested and led away by Schrank and Krupke for killing Tony.
Cast[edit]
Natalie Wood as Maria Nuñez, Bernardo's younger sister, Chino's fiancée, in love with Tony Wyzek Marni Nixon as Maria's singing voice
Richard Beymer as Tony Wyzek, inactive co-founder of the Jets with best friend Riff, works at Doc's drug store, in love with Maria Nuñez Jimmy Bryant as Tony's singing voice
Russ Tamblyn as Riff Lorton, leader of the Jets, best friend of Tony
Rita Moreno as Anita del Carmen, Bernardo's girl, Maria's closest confidante Betty Wand as Anita's singing voice during "A Boy Like That"; Marni Nixon during parts of the "Quintet".
George Chakiris as Bernardo Nuñez, leader of the Sharks, older brother of Maria
Simon Oakland as Lieutenant Schrank, neighborhood police lieutenant
Ned Glass as Doc, drugstore owner, Tony's boss
William Bramley as Officer Krupke, neighborhood cop, Schrank's right-hand man
John Astin as Glad Hand, social worker
Penny Santon as Madam Lucia, owner of neighborhood bridal shop


Jets[edit]
Tucker Smith as Ice/Diesel, Riff's lieutenant, is called "Ice" because of the color of his eyes
Tony Mordente as Action, a Jet who is easily provoked and often in an angry state
Eliot Feld as Baby John, the youngest, and good member of the Jets,
David Winters as A-Rab, Baby John's best friend
Bert Michaels as Snowboy, the comedic member of the Jets
David Bean as Tiger
Robert Banas as Joyboy
Anthony 'Scooter' Teague as Big Deal
Harvey Hohnecker as Mouthpiece
Tommy Abbott as Gee-Tar
Jet Girls[edit]
Susan Oakes as Anybodys, a tomboy who keeps pestering Riff to be in the Jets; she is eventually accepted after his death.
Gina Trikonis as Graziella, Riff's girl.
Carole D'Andrea as Velma, Ice's girl
Rita Hyde d'Amico as Clarice, Big Deal's girl
Pat Tribble as Minnie, Baby John's girl
Francesca Bellini as "Cool" dancer
Elaine Joyce as a dancer
 
Sharks[edit]
Jose DeVega as Chino Martin, Bernardo's best friend
Jay Norman as Pepe, Bernardo's lieutenant
Gus Trikonis as Indio, Pepe's best friend
Eddie Verso as Juano
Jamie Rogers as Loco
Larry Roquemore as Rocco
Robert E. Thompson as Luis
Nick Covacevich as Toro
Rudy Del Campo as Del Campo
Andre Tayir as Chile
Shark Girls[edit]
Yvonne Othon as Consuela, Pepe's girl
Suzie Kaye as Rosalia, Indio's girl
Joanne Miya as Francisca, Juano's girl
Maria Henley as Teresita, Loco's girl
 
Musical numbers[edit]

Act I
1."Overture" – Orchestra
2."Prologue" – Orchestra
3."Jet Song" – Riff and Jets
4."Something's Coming" – Tony
5."Mambo" – Orchestra
6."Maria" – Tony
7."America" – Anita, Bernardo, Sharks and Girls
8."Tonight" – Tony and Maria
9."Gee, Officer Krupke" – Riff and Jets

Act II
1."I Feel Pretty" – Maria, Consuela, Rosalia, and Francisca
2."One Hand, One Heart" – Tony and Maria
3."Quintet" – Maria, Tony, Anita, Riff, Bernardo, Jets, and Sharks
4."The Rumble" – Orchestra
5."Somewhere" – Tony and Maria
6."Cool" – Ice and Jets
7."A Boy Like That/I Have a Love" – Anita and Maria
8."Somewhere (Reprise)" – Maria
9."Finale" – Orchestra
 
Differences from the stage show[edit]
In the stage show, it is A-Rab who gets beaten up by the Sharks at the beginning, before the free-for-all breaks out between the two gangs. In the film, it is Baby John who gets chased and beaten up after being caught changing some wall graffiti from "SHARKS" to "SHARKS STINK". It is interesting, that as David Winters played Baby John in the stage show and A-rab in the film, he avoided being chased and beaten-up both times.
One of the lyrics of the "Jet song" was changed in the movie. Instead of second being "When you're a Jet let them do what they can" in the play It is "...when you're a Jet if the spit hits the fan."
In the stage show, "Jet Song" ends, "...on the whole ever mother-lovin' street." In the film, it ends, "...on the whole buggin' ever-lovin' street."
In the stage show, Tony and Riff's friendship combination is "Womb to tomb. Sperm to worm." In the film, it is "Womb to tomb. Birth to earth."
The order of "Tonight" (Duet) and "America" is reversed.
In the stage show, Anita and Rosalia sing the beginning of "America", not Anita and Bernardo; the boys are not in the number at all. Show business legend has it that the men were omitted from the number in the stage version because of an error in scheduling. Robbins, typically, blamed the male dancers, and this was his way of punishing them.
The lyrics of "America" are different in the film as is some of the dialog leading up to it.
In the stage show, at Doc's drug store, it is the song "Cool" that is sung and in the garage it is "Gee, Officer Krupke", but they were switched in the film at the request of lyricist Stephen Sondheim as the songs were changed in order related more to the situations at those points in the film.
On stage, it is Riff who sings "Cool" and Action who sings "Gee, Officer Krupke."
In one part of "Gee, Officer Krupke", the lyrics were changed. The line "My daddy beats my mommy, my mommy clobbers me" appears in the film but in the stage musical it was "My father is a bastard, my mom's an S.O.B.".
"One Hand, One Heart" is sung only once in the film, without the instrumental section and the repeat of the second half of the song, in order to avoid repetition.
On stage, during the Quintet, Riff sings to Tony, not Ice. (Ice was actually a character created for the film and was not present in the original Broadway production.)
On stage, during the Quintet, Anita sings about Bernardo, "He'll come home hot and tired, so what? No matter if he's tired, as long as he's hot." In the film, the lyrics were changed to, "He'll come home hot and tired, poor dear. No matter if he's tired, as long as he's here."
"I Feel Pretty" appears at the beginning of Act II after the rumble in the stage musical.
"Somewhere" in the stage show is sung by Tony and Consuela as part of the "Somewhere" ballet. For the film verson, sung by Tony and Maria, the ballet portions were omitted as it slowed down the pace.
Action takes over as leader of the Jets in the stage show, not Ice.
"A Boy Like That"/"I Have a Love" avoids the repetition in the film version, omitting the duet where Anita repeats two of the stanzas, that she just sang, while Maria continues to resist Anita's complaints, which was slowing the pace of the film. Maria resumes, without the duet with Anita, to the transition to the song "I Have a Love" with the words, "You should Know Better".
The character of Ice [Tucker Smith], who was written for the film, was named Diesel in the stage show.
The stage show features 11 Jets (including Tony) and 10 Sharks. The film features 12 Jets and 11 Sharks with the additions of Joyboy and Chile, respectively.
The stage show Sharks named Anxious, Nibbles and Moose are renamed Rocco, Del Campo and Loco in the film.
Casting[edit]

 This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research may be removed. (April 2011)
Larry Kert, who originated the role of Tony on Broadway, was 30 around the time of the production and the producers wanted actors who looked believable as teenagers. Carol Lawrence, who originated the role of Maria on stage, was then 29 and considered too old for Maria. This caused some controversy and dissatisfaction when some prospective audience members learned that she had been passed over in favor of a new actress. Tony Mordente (A-Rab on stage, Action in the film) and George Chakiris (Riff on stage in the London production, Bernardo in the film) were invited to act in the film version, as was Tucker Smith, who joined the Broadway production several months after its 1957 debut. Smith went on to play Ice, a role created specifically for the film. David Winters, who originated Baby John, played A-Rab,[2] Eliot Feld (an ensemble member and understudy for Baby John on Broadway) played Baby John, Carole D'Andrea reprised her role as Velma, Tommy Abott reprised his role as Gee-Tar, Jay Norman (Juano on stage) appeared as Pepe, and William Bramley reprised his role as Officer Krupke.
Elvis Presley was originally approached for Tony. However, his manager, Colonel Tom Parker, strongly believed the role to be wrong for Elvis and made him decline in favour of other movie musicals. According to legend, the Colonel didn't want Elvis associated with gang warfare and knife crime, although three years earlier, Elvis' character Danny Fisher stabbed and killed the small-time gangster 'Shark' played by Vic Morrow in the movie King Creole. When the movie became a hit and earned 10 Oscars, Elvis later regretted having given up the part. Others who auditioned for the part included Warren Beatty, Tab Hunter, Anthony Perkins, Russ Tamblyn, Burt Reynolds, Troy Donahue, Bobby Darin, Richard Chamberlain, Dennis Hopper, and Gary Lockwood.
Bobby Darin made a strong impression on the producers at his audition and was, at one point, in talks for the role. However, he turned it down due to his concert and recording commitments. Tab Hunter, then 30, and Burt Reynolds, nearly 26, were also considered, due to their Broadway and singing credits, but they were dismissed as being too old. Richard Chamberlain was also thought too old at age 26, and chose to renew his contract for Dr. Kildare that same year. Eventually the producers settled on their so-called "final five": Warren Beatty, Anthony Perkins, Russ Tamblyn, Troy Donahue, and Richard Beymer. Although he was 28 before filming began, Perkins' boyish looks and Broadway resume seemed to make him a contender for the role, and he was trying to avoid getting typecast after the success of Psycho. Robert Wise originally chose Beatty for the role, figuring that youth was more important than experience. Ultimately, the former child actor Beymer (the most unlikely of the candidates) won the part of Tony. Having been invited for several callbacks, Tamblyn impressed the producers and was given the role of Riff.
The producers had not originally thought of Natalie Wood for the role of Maria. She was filming Splendor in the Grass with Warren Beatty and was romantically involved with him off-screen. When Beatty went to screen test for the role of Tony, Wood read opposite him as Maria as a favor because she had been practicing with him. The producers fell in love with the idea of Wood as Maria but did not cast Beatty.
Jill St. John, Audrey Hepburn, Diane Baker, Valerie Harper, Elizabeth Ashley, and Suzanne Pleshette were among the many actresses who lobbied for the role of Maria in the film adaptation. However, Hepburn later withdrew because she became pregnant.
Both Wood and Beymer tried to do their own singing for the movie, but their voices were ultimately deemed insufficient and they were dubbed by Marni Nixon and Jimmy Bryant, respectively. Wood's contract stated that she would pre-record all her songs. When Wood struggled with the challenging soprano role her voice was blended with Marni Nixon's. Natalie sang the lower portions and Marni provided the higher vocals, (this is similar to Marni's work dubbing some of the vocals for Marilyn Monroe on the song "Diamonds Are a Girl's Best Friend"). Wood filmed to the mixed vocal recordings. During production, she was led to believe that these versions would be used (with Wood singing the majority of the vocals), although music supervisors Saul Chaplin and Johnny Green had already decided her singing voice would later be completely dubbed by Nixon. As well as acting and singing the role of Ice, Tucker Smith dubbed the singing voice of Riff in "Jet Song", instead of Russ Tamblyn. Russ' own voice was used in "Gee, Officer Krupke" and the "Quintet". Rita Moreno was dubbed by Betty Wand in the song "A Boy Like That" because the song was in too low a register for her; she sang her own vocals in "America". Marni Nixon sang some of Moreno's parts in the "Quintet". Moreno had intended to sing this herself but couldn't due to illness; Betty Wand was also ill on the day of final recording, so Nixon stepped in to record Anita's vocal line. So, technically, the song is made a quartet and in the counterpoint section of the song, Marni Nixon is singing both Maria's and Anita's lines.
Reception[edit]
The film earned $19,645,000 million in North American rentals.[3] Because of profit participation, United Artists only earned a profit of $2.5 million on the movie.[4]
Awards and honors[edit]
The film has been deemed "culturally significant" by the United States Library of Congress and was selected for preservation in the National Film Registry in 1997. The film holds the distinction of being the musical film with the most Academy Award wins (10 wins), including Best Picture (three other films also won 11 Oscars each, but they are not musicals).
Academy Awards[edit]
Wins[5][6]
Academy Award for Best Picture – Robert Wise, producer
Academy Award for Best Supporting Actor – George Chakiris
Academy Award for Best Supporting Actress – Rita Moreno
Academy Award for Best Art Direction (Set Decoration, Color) – Victor A. Gangelin and Boris Leven
Academy Award for Best Cinematography (Color) – Daniel L. Fapp
Academy Award for Best Costume Design (Color) – Irene Sharaff
Academy Award for Best Director – Robert Wise and Jerome Robbins
Academy Award for Best Film Editing – Thomas Stanford
Academy Award for Best Original Score – Saul Chaplin, Johnny Green, Irwin Kostal, and Sid Ramin
Academy Award for Best Sound – Fred Hynes (Todd-AO SSD), and Gordon E. Sawyer (Samuel Goldwyn SSD)
Nominations
Academy Award for Best Writing (Adapted Screenplay) – Ernest Lehman
Others[edit]
Academy Award for Brilliant Achievements in the Art of Choreography on Film – Jerome Robbins
American Film Institute lists:
AFI's 100 Years...100 Movies – #41
AFI's 100 Years...100 Passions – #3
AFI's 100 Years...100 Songs: "Somewhere" – #20
"America" – #35
"Tonight" – #59
AFI's Greatest Movie Musicals – #2
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #51
The film currently holds a 93% "fresh" rating on Rotten Tomatoes.[7]
Score and soundtrack[edit]
Leonard Bernstein was displeased with the orchestration of the movie, which was done by Sid Ramin and Irwin Kostal, who had orchestrated the original Broadway production. That show was orchestrated for roughly 30 musicians; for the movie, United Artists allowed them triple that, including six saxophone parts, eight trumpets, five pianos and five xylophones.[8] Bernstein found it "overbearing and lacking in texture and subtlety." [9]
For the 50th anniversary of the film's 1961 release, a score closer to the Broadway version was created by Garth Edwin Sunderland of the Leonard Bernstein Office, to be performed live at screenings of the movie with the score removed, but the original vocals maintained.[10] The score's New York City premiere was presented at Lincoln Center's Avery Fisher Hall, built atop the original film locations, which were razed in a late 1950s urban renewal project.[8][11] The film's cast appeared and was honored at the 50th anniversary of West Side Story at the 2011 Ventura Film Festival.[12]
The Stan Kenton Orchestra recorded Johnny Richards' West Side Story, an entire album of jazz orchestrations based on the Bernstein scores, in 1961. It was previewed by the producers of the motion picture, who lamented that, had they known of its existence, it would have been used as the musical foundation of the new film. The Kenton version won the 1962 Grammy Award for Best Jazz Recording by a Large Group.
Restoration[edit]
In 2011, the film was restored with digital cinema, an aspect ratio of 2.20:1, and Super Panavision 70.[citation needed]
References[edit]

Portal icon New York City portal
Portal icon Dance portal
1.Jump up ^ "WEST SIDE STORY (AA)". British Board of Film Classification. January 12, 1962. Retrieved June 19, 2013.
2.Jump up ^ "David Winters Tribute Site". Davidwinters.net. 2003-04-01. Retrieved 2012-03-14.
3.Jump up ^ Internet Movie Database
4.Jump up ^ Tino Balio, United Artists: The Company That Changed the Film Industry, Uni of Wisconsin Press, 1987 p 177
5.Jump up ^ "West Side Story (1961) – Awards". The New York Times. Retrieved December 24, 2008.
6.Jump up ^ "The 34th Academy Awards (1962) Nominees and Winners". oscars.org. Retrieved 2011-08-22.
7.Jump up ^ West Side Story at Rotten Tomatoes
8.^ Jump up to: a b Wakin, Daniel (September 6, 2011), "Classic Score by Bernstein is Remade", The New York Times, retrieved 09/07/2011
9.Jump up ^ Berson, Misha (2011). Something's Coming, Something Good: West Side Story and the American Imagination. Applause.
10.Jump up ^ "Path of Discovery: West Side Story at 50", Justin M. Craig, September 27, 2011, leonardbernstein.com
11.Jump up ^ Sarah Waxman, "The History of the Upper West Side", ny.com
12.Jump up ^ West Side Story 50th Anniversary
External links[edit]
 Wikiquote has a collection of quotations related to: West Side Story
Official website
West Side Story at the American Film Institute Catalog
West Side Story at the Internet Movie Database
West Side Story at the TCM Movie Database
West Side Story at Rotten Tomatoes
Official West Side Story site for all incarnations

Awards
Preceded by
Sayonara Academy Award winner for
Best Supporting Actor and Best Supporting Actress Succeeded by
The Last Picture Show

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Golden Globe Award for Best Motion Picture – Musical or Comedy

 

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Jerome Robbins

 



 



 



 

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William Shakespeare's Romeo and Juliet

 

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Romeo-and-Juliet-toy-theatre-cut-outs.png

 

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Arthur Laurents, Leonard Bernstein and Stephen Sondheim's West Side Story (1957)

 

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Categories: 1961 films
1960s musical films
1960s romantic drama films
American dance films
American films
American musical drama films
American romantic musical films
Best Musical or Comedy Picture Golden Globe winners
Best Original Music Score Academy Award winners
Best Picture Academy Award winners
English-language films
Films about race and ethnicity
Films based on musicals
Films based on Romeo and Juliet
Films directed by Robert Wise
Films featuring a Best Supporting Actor Academy Award winning performance
Films featuring a Best Supporting Actor Golden Globe winning performance
Films featuring a Best Supporting Actress Academy Award winning performance
Films featuring a Best Supporting Actress Golden Globe winning performance
Films set in 1957
Films set in New York City
Films set in the 1950s
Films shot in 70mm
Films shot in New York City
Films that won the Best Sound Mixing Academy Award
Films whose art director won the Best Art Direction Academy Award
Films whose cinematographer won the Best Cinematography Academy Award
Films whose editor won the Best Film Editing Academy Award
Gang films
Interracial romance films
Modern adaptations of works by William Shakespeare
Spanish-language films
United Artists films
United States National Film Registry films





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