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The Call Is Places

Welcome from Artistic Director Joseph Haj 2017–2018 SEASON Dear Friends,

Romeo and Juliet It’s thrilling when a longtime dream is realized. It’s even more thrilling September 9 – October 28, 2017 when you can share it with a talented team of collaborators who worked Wurtele Thrust Stage tirelessly to help it come true. So I’m honored to share our collective dream – the retelling of the incomparable – with you. Watch on the Rhine September 30 – November 5, 2017 There are countless reasons why reviving this iconic American musical is McGuire Proscenium Stage essential and timely. West Side Story tells a close-to-home tale of love, A Christmas Carol loss, belonging and ambition – universal themes of the human condition November 14 – December 30, 2017 that should bring us together. But, as the youth in this timeless story Wurtele Thrust Stage show us with tragic exactness, they often divide us.

Blithe Spirit Today, we find ourselves asking the same arresting November 25, 2017 – January 14, 2018 questions West Side Story raised decades ago: McGuire Proscenium Stage What does it mean to be American? Why do our differences breed hatred and violence? Indecent How do we face the harsh reality that February 17 – March 24, 2018 Wurtele Thrust Stage love sometimes doesn’t conquer all? Wrestling with these concepts led us to Familiar the audacious prospect of creating all- March 10 – April 14, 2018 new choreography to capture the grit, McGuire Proscenium Stage danger and diversity of this production’s Jets and Sharks. We hope you enjoy Guess Who’s watching it as much as we enjoyed Coming to Dinner creating it. April 7 – May 27, 2018 Wurtele Thrust Stage It took a city – not a village – to tell An Enemy of the People our version of this beloved story. I’m April 28 – June 3, 2018 overwhelmed with gratitude for this McGuire Proscenium Stage dream team of artists and for dedicated patrons like you, who allow theater to West Side Story touch your hearts and minds, show June 16 – August 26, 2018 after show. Wurtele Thrust Stage Yours, The Legend of Georgia McBride July 14 – August 26, 2018 McGuire Proscenium Stage

Visit guthrietheater.org for additional productions and play descriptions. PHOTO: JOSEPH HAJ (HEIDI BOHNENKAMP) JOSEPH PHOTO:

1 \ GUTHRIE THEATER West Side Story based on a conception by

book by music by lyrics by Arthur Leonard Stephen Laurents Bernstein Sondheim entire original production directed and choreographed by Jerome Robbins originally produced on Broadway by Robert E. Griffith and Harold S. Prince by arrangement with Roger L. Stevens

Sponsored by Cast in alphabetical order by group

JETS A-RAB Adam Brian Ali* ANYBODYS Leah Anderson* GEE-TAR Brendon Chan* GRAZIELLA Kendra ‘Vie Boheme’ Dennard* BIG DEAL Andy Frye* The Guthrie gratefully recognizes William VELMA Marissa Lynn Horton* & Penny George and The George Family ACTION Lamar Jefferson* Foundation as Platinum Producers; TONY Marc Koeck* Suzanne & Douglas Kubach, H. William Lurton and Mary W. Vaughan as Leading RIFF Darius Jordan Lee* Producers; Louise W. Otten and Richard SNOWBOY Tyler Michaels* & Annette Sattler as Producers; and CLARICE Andrea Mislan* Diane & Tony Hofstede, Anne W. & Eldon MINNIE Jocelyn Iris Rajkumar* C. Miller and Janis & James Stephenson as Associate Producers. DIESEL Devin L. Roberts* BABY JOHN Tovi Wayne* Setting 1957. The West Side of Manhattan SHARKS during the last days of summer. INDIO Fabio Angelo* Run Time NIBBLES Fernando Collado* Approximately 2 hours and 35 minutes PEPE Mark Deler* with one intermission FRANCISCA Gabrielle Dominique ANXIOUS Jordan Fife Hunt* Understudies Fernando Collado* (Chino), Mark Deler* ANITA Ana Isabelle* (Bernardo), Gabrielle Dominique JUANO James E. Johnson V* (Rosalia), Andy Frye* (Action/ CONSUELO Celeste Lanuza* Diesel), Terry Hempleman* (Doc), LUIS Tomas Matos* Marissa Lynn Horton* (Anybodys), CHINO Christian Elán Ortiz* Lamar Jefferson* (Riff), Josh Levinson* (A-Rab/Big Deal/Snowboy/Baby John/ MARIA Mia Pinero* Glad Hand), Joel Liestman* (Schrank/ ROSALIA Carley Villanueva Rosefelt Krupke), Emily Madigan* (Graziella/ BERNARDO Marco Antonio Santiago* Francisca/Consuelo), Tyler Michaels* TERESITA Kristin Yancy* (Tony), Andrea Mislan* (Velma), Carley Villanueva Rosefelt (Maria), Kristin Yancy* (Anita) ADULTS

Understudies never substitute for performers DOC Raye Birk* unless announced prior to the performance. SCHRANK Terry Hempleman* GLAD HAND Joel Liestman* The Guthrie’s rush line is made possible with support from Target. KRUPKE Bill McCallum*

Delta Air Lines is the SWINGS official airline of the SHARK SWING Mateus Barbosa da Silva Guthrie Theater. JET SWING Josh Levinson* FEMALE SWING Emily Madigan*

2 \ GUTHRIE THEATER Creative Team Scenes and Songs

DIRECTOR Joseph Haj ACT I CHOREOGRAPHER Maija García Scene 1: The Street “Prologue” ORCHESTRA MUSIC DIRECTOR/CONDUCTOR Mark Hartman “Jet Song” RIFF, JETS SCENIC DESIGNER Christopher Acebo COSTUME DESIGNER Jen Caprio Scene 2: A Backyard LIGHTING DESIGNER Bradley King “Something’s Coming” TONY SOUND DESIGNER Elisheba Ittoop Scene 3: The Bridal Shop DRAMATURG Carla Steen VOCAL COACH Robert Ramirez Scene 4: The Dance at the Gym FIGHT DIRECTOR U. Jonathan Toppo “Blues,” “Mambo,” “Cha-Cha,” “Jump” ORCHESTRA STAGE MANAGER Michele Hossle* “Maria” TONY ASSISTANT STAGE MANAGERS Katherine Kenfield* Nate Stanger* Scene 5: A Back Alley ASSISTANT DIRECTOR Christopher Garza “Balcony Scene” MARIA, TONY “America” ANITA, ROSALIA, ASSISTANT CHOREOGRAPHER Omar Nieves CONSUELO, FRANCISCA, TERESITA SDC CHARLES ABBOTT DIRECTING FELLOW Christine O’Grady Scene 6: The Drugstore NYC CASTING CONSULTANT McCorkle Casting, Ltd. “Cool” RIFF, JETS DESIGN ASSISTANTS Ryan Connealy (lighting) Scene 7: The Next Day at the Lisa Jones (costumes) Bridal Shop Kurt P. Jung (second lighting) “One Hand, One Heart” TONY, MARIA Reid Rejsa (sound) DANCE CAPTAINS Kendra ‘Vie Boheme’ Dennard* Scene 8: The Neighborhood Jordan Fife Hunt* “Tonight” RIFF, BERNARDO, ANITA, Josh Levinson* TONY, MARIA, JETS, SHARKS Kristin Yancy* Scene 9: Under the Highway FIGHT CAPTAIN Tyler Michaels* “The Rumble” ORCHESTRA

ACT II Musicians Scene 1: Maria’s Bedroom “” MARIA, CONSUELO, KEYBOARD/ASSOCIATE CONDUCTOR Denise Prosek ROSALIA, FRANCISCA, TERESITA “Ballet Sequence” TONY, MARIA PIANO/CELESTE Mindy Eschedor “Somewhere” SOPRANO SOLOIST WOODWINDS Doug Haining Mark Henderson Scene 2: Another Back Alley Bill Olson “Gee, Officer Krupke”JETS HORN Gina Goettl Scene 3: Maria’s Bedroom TRUMPETS Sylvain Pineault “”/“I Have a Love” Adam Rossmiller ANITA, MARIA TROMBONE Wade Clark PERCUSSION Jay Johnson Scene 4: The Drugstore “Taunting Scene” ORCHESTRA DRUMS Joe Pulice

VIOLINS Carolyn Boulay Scene 5: The Street Elise Parker “Finale” MARIA, TONY CELLO Diane Tremaine BASS Greg Angel

*Member of Actors’ Equity Association

3 \ GUTHRIE THEATER THE PLAY

CHARACTERS

THE JETS AND THEIR GIRLS Tony, a former leader of the Jets Riff,Tony’s best friend and current leader of the Jets Velma, Riff’s girlfriend Diesel, the Jets’ best fighter Graziella, Diesel’s girlfriend Baby John, the youngest member of the Jets Anybodys, a wannabe member of the Jets

Action Gee-Tar Snowboy Clarice Big Deal Minnie PHOTO: COSTUME SKETCH BY JEN CAPRIO A-Rab

THE SHARKS AND THEIR GIRLS Synopsis Bernardo, the leader of the Sharks

On Manhattan’s West Side during the waning days of summer, rival gangs Maria, Bernardo’s sister prowl the streets. The Jets, a motley crew of “American” youth, find their Anita, Bernardo’s girlfriend territory threatened by the Sharks, a gang of newly arrived Puerto Rican Chino, Maria’s intended suitor immigrants. After their most recent skirmish is broken up by the local cops, the Jets decide to rumble with the Sharks to determine once and Pepe Luis for all who owns the streets. The Jets’ leader Riff asks his best friend Indio Francisca Tony, a former Jet now working in Doc’s drugstore, to back him at the Nibbles Consuelo neighborhood dance when he challenges the Sharks’ leader Bernardo. Anxious Rosalia Tony reluctantly agrees. Juano Teresita

At the dance, the gangs remain defiantly separated. Among the Sharks are Bernardo’s girlfriend Anita and his sister Maria, who is attending her THE ADULTS first dance in America. In the midst of a mambo, Tony and Maria lock eyes Doc, owner of the local and dance, reveling in each’s other presence until Bernardo separates drugstore and Tony’s them. Undeterred, Tony later finds Maria’s apartment, and they pledge employer their love to each other on her fire escape. But a war council between the Schrank, a plainclothes gangs sets the time and place for the all-out rumble, leaving the young lieutenant lovers caught in a world of prejudice and hate. Krupke, a uniformed sergeant SETTING 1957. The West Side of Manhattan during the last days of summer. Most Glad Hand, supervisor of the of the action takes place over the course of two days, from 5 p.m. on the dance at the gym first day to midnight on the second day.

4 \ GUTHRIE THEATER THE AUTHORS

Broadway’s Dream Team

Lyricist , playwright , producers and Robert Griffith, composer and director/ choreographer Jerome Robbins

PHOTO: FRIEDMAN ABELES

“For me what was important The creation of West Side Story began in 1949 when Jerome about West Side Story was Robbins took his idea of an urban, Shakespeare-inspired tale to Arthur Laurents, Leonard Bernstein and Stephen Sondheim. in our aspiration. I wanted to It was originally set on the Lower East Side during Passover, find out at that time how far with Juliet and the Capulets as Jewish and Romeo and the Montagues as Catholic. They even had a working title: East Side we, as ‘long-haired artists,’ Story. But the play didn’t take flight until 1955, when a surge could go in bringing our crafts of juvenile gang violence splashed across the headlines. The and talents to a musical.” need for West Side Story and its themes of immigration, shared resentment, and anger suddenly became urgent, and Jerome Robbins, quoted in their work began anew. The setting moved from the Lower East Broadway Song & Story edited by Side to the Upper West Side, the title was revised and the rest Otis L. Guernsey, Jr., 1986 of the story became the history that is now a legacy.

5 \ GUTHRIE THEATER Jerome Robbins Original Director and Choreographer Jerome Robbins was a world-renowned choreographer of ballets and director and choreographer in theater, movies and television. While embarking on his career in the theater, he simultaneously created ballets for Ballet, which he joined in 1949, and became an associate artistic director with George Balanchine. Robbins also directed for television and film, with his co-direction and choreography ofWest Side Story winning him two Academy Awards. Other honors include four Tony Awards, five , two Emmy Awards, a Screen Directors’ Guild Award and a New York Drama Critics’ Circle Award. Some of his beloved Broadway shows include , Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, , , Miss Liberty, Call Me Madam and Fiddler on the Roof.

Arthur Laurents Playwright An award-winning playwright, screenwriter, librettist, director and producer, Arthur Laurents created the librettos of many Broadway shows, including Gypsy, , Do I Hear a Waltz?, Hallelujah, Baby! and Nick & Nora. He wrote the screenplays for The Snake Pit, Anna Lucasta, Anastasia, Bonjour Tristesse, and The Turning Point. Laurents also wrote the plays Home of the Brave, The Time of the Cuckoo and A Clearing in the Woods, and he directed I Can Get It for You Wholesale, Anyone Can Whistle, Gypsy, La Cage aux Folles, Birds of Paradise and Nick & Nora.

Leonard Bernstein Composer Leonard Bernstein was a prolific composer, conductor, educator, musician, cultural ambassador and humanitarian. Throughout his career, he created countless major compositions and collaborated with choreographer Jerome Robbins on three major ballets – Fancy Free, Facsimile and Dybbuk. Bernstein also contributed substantially to the Broadway musical stage, including the landmark musical West Side Story. He received many honors, including a Lifetime Achievement Grammy Award, 11 Emmy Awards, a National Fellowship Award, the MacDowell Colony Gold Medal, the Handel Medallion, a Tony Award for Distinguished Achievement in the Theatre and dozens of honorary degrees and awards. In 1990, Bernstein received the Praemium Imperiale, an international prize created in 1988 by the Japan Arts Association and awarded for lifetime achievement in the arts. He used the $100,000 prize to establish the Bernstein Education Through the Arts (BETA) Fund before his death in 1990.

Stephen Sondheim Lyricist Stephen Sondheim has written the music and lyrics for (1954), A Funny Thing Happened on the Way to the Forum (1962), Anyone Can Whistle (1964), (1970), (1971), (1973), (1974), (1976), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday in the Park with George (1984), (1987), (1991), Passion (1994) and Road Show (2008). He has also written lyrics for West Side Story (1957), Gypsy (1959) and Do I Hear a Waltz? (1965) plus additional lyrics for Candide (1973). He has composed the scores of the filmsStavisky (1974) and Reds (1981), songs for Dick Tracy (1990) and the television production “Evening Primrose” (1966). His collected lyrics with attendant essays are published in two volumes: “” (2010) and “Look, I Made a Hat” (2011). In 2010, the Broadway theater formerly known as Henry Miller’s Theatre was renamed in his honor.

6 \ GUTHRIE THEATER CULTURAL CONTEXT

PHOTO: REACHING THE FIGHTING GANG, NEW YORK CITY YOUTH BOARD “Hey, I Got a Social Disease!” by Carla Steen Juvenile Delinquency in the 1950s Production Dramaturg

Although young people misbehaving wasn’t anything new in the 1950s, the scope and scale of the problem of juvenile delinquency was. A marked rise in crime and violence among teenagers post-World War II proved to be a matter of grave concern and frequent discussion.

In the late 1950s alone – the a seven-part series in The New York Around the same time, stories time of West Side Story – Look Times about what he called the of juvenile delinquency were and Life magazines, The New “Shook-Up” generation. “Shook- also playing out on the silver Yorker, Newsweek, U.S. News and up in teen-age terminology means screen, with movies like The World Report and other news upset, disturbed,” he wrote. “The Wild Bunch in 1953 and Rebel organizations had many and consequences of this shook-up Without a Cause in 1955 setting lengthy stories about the rise and condition constitute one of the the stage for later films likeThe increase of delinquency among principal social problems of our day.” Delinquents (1957) and High School teens and preteens, the crisis in the Through his seven articles, Salisbury Confidential (1958) about kids schools, police and governmental wrote about youth gangs, New getting caught up in the wrong response to delinquency or the York City schools, lack of housing crowd or with local gangs and the latest gang incident. These articles and difficult home life – all of the rising use of alcohol and drugs, frequently speculated about or problems that contributed to juvenile especially marijuana, among young offered up suggestions for what delinquency among this “Shook-Up” people. The Delinquents, written the solution could be. generation. Salisbury bookended his and directed by Robert Altman, pieces with references to West Side ended with a voiceover epilogue In March 1958, Pulitzer Prize-winning Story, which was still running strong exhorting people to deal with the journalist Harrison E. Salisbury had on Broadway. problem of delinquency:

7 \ GUTHRIE THEATER “This is one story. Who’s to published a book titled Reaching blame? The answers are not the Fighting Gang based on the GANG SLANG easy nor are they pleasant. organization’s experience and (both real and made up by Laurents) We are all responsible. And outreach with gangs. Many of its it’s our responsibility not to descriptions of gang structure, Crabbin’ Find fault with, criticize, look the other way. Violence membership, activity and behavior peck at and immorality like this must parallel those depicted in West Cracko Jacko “Cracko” is 20th- be controlled and channeled. Side Story. The Jets’ frustration century slang for lunatic, Citizens everywhere must work pouring out in “Gee, Officer insane, eccentric against delinquency just as they Krupke,” as they describe the work against cancer, cerebral ineffectual adults and structures of Daddy-O Term of address between males palsy or any other crippling society that continually fail them, disease. For delinquency is a is strongly echoed in the words of Dig Appreciate, enjoy, understand disease. But the remedies are the Youth Board: Frabbajabba Nonsensical available. Patience, compassion, chatter; derived from “jabber” understanding and respect for “He reacts negatively to a parental and civil authority. By community which shows its Gassin’ Chattering, offering working with your church group, concern only when he or his only hot air, talking inconsequentially with a youth organization in group is in trouble and then acts your town, by paying closer repressively. The application by Hoodlums Street ruffians, thugs attention to the needs of your the community of the label of or gangsters children, you can help prevent ‘delinquency’ or ‘gang’ crucially Jitterbug Participate in gang the recurrence of regrettable affects the self-definition or fighting; go into combat events just like the ones you self-image of the member and have just witnessed. You can the group. In many instances Kick Stimulating or intoxicating help halt this disease before it a feeling of self-rejection is effect cripples our children. Before it projected onto the community Mix Fight, brawl cripples society.” and the boys talk about how Rumble Mass fight between ‘the world ain’t no good, the rival gangs Part of New York City’s response neighborhood ain’t no good to the growing problem of juvenile and I am no good.’ … He both Schmuck Fool, putz delinquency was to form a Youth fears and dreads apprehension Square Conventional, old- Board in 1947, which was intended by the police and other law fashioned to coordinate the services to enforcement institutions, seeing Tea Drugs, especially marijuana youth provided by public and these not in terms of their private agencies. Two years later, societal function, but only as Tin-Horn Inferior, second-rate the Youth Board created two of they impinge upon him and Tomato Attractive woman its own service programs – one the group. His rejection of for outreach to street gangs and adults and the community is Turf Street(s) or block(s) that another for services to families and characterized by a ‘no one cares constitute a gang’s territory children. In 1960, the Youth Board for us’ attitude.”

LEARN MORE ABOUT THE LEGACY Google Arts and Culture: NPR Podcast: 50 Years of Leonard Bernstein at 100 West Side Story West Side Story 2018 marks Leonard Bernstein’s Dive into the world of the iconic An hour-long documentary hosted 100th birthday – an event so musical, with photos of the original by Scott Simon in three parts: notable that it launched a Broadway production, teens and Making a New Kind of Musical, global, two-year celebration with New York, a history of Manhattan’s Casting Calls and Out-of-Town more than 2,000 events across West Side and links to many related Trials, Broadway to Hollywood six continents to honor the online exhibits. and Beyond legendary composer.

EXPLORE MORE LISTEN NOW LEARN MORE

8 \ GUTHRIE THEATER PLAY FEATURE

Meet the Choreographer: Maija García Interview by Johanna Buch

Daunting seems too small JOHANNA BUCH: Tell me about your MG: When the Guthrie reached out a word for Maija García’s dance background. about creating new choreography, I was inspired by the idea of task at hand: create brand- MAIJA GARCÍA: My movement renewing this beloved classic new choreography for West journey began in gymnastics, but also humbled by the weight Side Story. If that wasn’t so my approach is dynamic and of its legacy. Jerome Robbins’ overwhelming enough, energetic. Classically trained in choreography is so iconic. The ballet and jazz, I loved musical original play exploded out of she had mere months to theater and directed plays I wrote Broadway into film, and the score reboot movements that during recess. When I moved to reached the ears of millions and took Jerome Robbins five New York City in 1997, I kicked off touched the hearts of America. I years to create. But she my shoes and explored modern, knew it would be an epic challenge, street jazz, Latin and African and I wanted the opportunity to envisioned a vocabulary diaspora dance. In San Francisco, I work with the Guthrie. So of course that spoke to both past trained in modern and martial arts, I said yes! and present and accepted and I studied Yoruba dances of the challenge with a the Orishas in Cuba. I also toured JB: Why even try to make changes resounding “Yes.” Read on the world with Bill T. Jones/Arnie to a storied musical of this Zane Dance Company. I’m always magnitude? to discover why reinventing expanding my vocabulary and the choreography for drawing inspiration from actors MG: In my first conversation with this beloved tale wasn’t who empower physical storytelling. [director] Joseph Haj, he leaned a brazen choice, but an into creating a West Side Story JB: What made you decide to take where we truly believe these essential one.

on this project? kids are gang members. I have ERIC POLITZER PHOTO:

9 \ GUTHRIE THEATER incredible reverence for the MG: My assistant choreographer diaspora and recent immigrants. original production, but it’s 2018, Omar Nieves and I wanted to Looking at the ensemble without and the idea of what it means create a movement vocabulary costumes, you can’t easily to be an American has changed. for the Jets and the Sharks. We distinguish a Jet from a Shark. So Our relationship with race and started with ideas like “taking up our challenge is to define affiliation immigration has evolved. So how space” or “protecting your turf.” through physical expression. I love do these kids move? How do they We’d generate material and adapt the overlap where the line between express their anger and frustration the phrases to the music. When I “us” and “them” dissolves. with the world? These questions danced to Bernstein’s score, I felt led us to a more grounded, gritty pinned against a wall, as though JB: Tell me about your personal style that reflects the diversity and the music was screaming “1950s connection to West Side Story. disenfranchisement of the young jazz!” So the movement for this people in this story. show was built on ideas. And we MG: My father emigrated to got all the bad ideas out of the way the U.S. from Havana, Cuba, in JB: How did you feel during the so the good ones could float up. 1961 when many Cubans and creative process? As they say – no mud, no lotus! Puerto Ricans were settling in American cities. My dad grew MG: At first I wavered between JB: What was it like having director up in the world of the play. The being flooded with inspiration Joseph Haj in the room? West Side Story soundtrack was and overwhelmed by the breadth the first record my grandfather of material and complexity of the MG: Working with Joe is a gift bought, and my father knows all score. As music director Mark because he is so present, intelligent the songs by heart. My Cuban Hartman generously translated the and insightful. He begins by asking grandparents faced incredible meaning of the music, Joe kept “What if?” and offers a beautiful odds and started from scratch saying, “It’s big, but it’s not bigger challenge to the imagination. The with grace and resilience. These than you.” His trust in my work has most subtle suggestions tilt us all sensibilities emerge when I think been so encouraging. in the right direction. He gives me of Anita’s spirit, Maria’s ambition the floor and says, “Do your thing.” and Bernardo’s dignity. Knowing JB: You workshopped in New York It’s been a dream. the music guided my family’s first before starting rehearsals at the years in the U.S. deeply nourished Guthrie. How did the city influence JB: Will audiences be able to spot my creative process. the choreography? traces of the old in the new? JB: What do you hope audiences MG: The energy of New York City MG: I wrestled with this question take away from this fresh retelling? is the world of West Side Story – from the beginning. You can’t peel a city of immigrants in constant Robbins’ influence away from the MG: I hope the audience is inspired flux. As we walked to and from show like an external layer – it’s to look deeply at our world, rehearsals, we were reminded of integral to the storytelling. We especially our youth, and resolve to the environment surrounding these talked a lot about the snaps: Could listen more and feel more. I hope kids. The high buildings that closed we try body percussion? Does it they connect with all the characters in their world. Multiple languages work if we pump a fist in a hand, and consider the plurality of their spoken at once, creating cognitive clap, stomp or slap the body? I experiences. I hope they reflect on dissonance. The constant tinkering think it does. the epidemic of gun violence in and toiling. The energy inside our country, on institutional racism Bernstein’s music is still alive in JB: What’s the greatest departure and on the criminalization of urban the city. Think of a jackhammer from the original choreography? youth. I hope they are inspired drilling into concrete. That kind of to invest in the arts that seek to sustained tension is happening in MG: We’re viewing West Side Story impact and transform communities. the music. through a multicultural lens. The And I hope they see good kids with Jets are an anthology of what it good hearts who are searching for JB: What were your goals for the means to be “American,” while family, community and acceptance workshop? the Sharks represent the Latinx like all of us.

10 \ GUTHRIE THEATER