West Side Story

Total Page:16

File Type:pdf, Size:1020Kb

West Side Story The United States Air Force Academy Bluebards Theatre Troupe Credits Proudly Presents Officer in Charge Lt Col Michelle Ruehl Master Carpenter Jandy Viloria Audio Technician Stan Sakamoto WEST Stage Crew RATTEX Dramaturg Dr. Marc Napolitano SIDE Support Team Flute/piccolo Erica Drakes STORY Bassoon Micaela Cuneo Based on a Conception of Trombone Sam Voss JEROME ROBBINS Violin Jared Helm French Horn Claire Badger Trumpet Josiah Savoie Trombone Braxton Sesler Percussion Matt Fleckenstein Musicians Piano Megan Getlinger Music by Lyrics by Trumpet Sean Castillo Clarinet Rose Bruns Trumpet Tom McCurdy Violin Kat Kowar Violin Matt Meno Entire Original Production Violin Nishanth Kalavakolanu Book by Directed and Choreographed by Bluebards offers its thanks to DFENG, RATTEX, and the Falcon Theater Founda- tion; without their support, this production would not have been possible. The videotaping or other video or audio recording of this production12 is strictly prohibited. 1 Who’s Who in the Cast and Crew “WEST SIDE STORY” not sing or dance, he decided to try out for the spring musical! After Based on a Conception of JEROME ROBBINS taking a year off to search the moon for the secret to great singing and dancing, Kevin has returned to Bluebards (unfortunately, people on the moon dance differently than the people of Earth). He is an avid reader who enjoys nerding-out with fellow nerds about the nerdiest subjects. Book by ARTHUR LAURENTS Kevin would like to thank the cast/crew, with a special nod to Lt Col Music by LEONARD BERNSTEIN Ruehl for ensuring USAFA’s drama nerds have a home in Bluebards. Lyrics by STEPHEN SONDHEIM Calista Torbenson (Graziella) is very excited to make her Bluebards debut in West Side Story. She participated in her high school's produc- Entire Original Production tion of Seven Brides for Seven Brothers and sang in high school and church choir. Calista is also a part of the USAFA Rugby Team. She Directed and Choreographed would like to thank her friends and family for always supporting her. by JEROME ROBBINS Jelani Washington (Pepe) is a fourth class cadet from Illinois who is ecstatic to be making his Bluebards debut in West Side Story. His pre- Originally produced on Broadway by Robert E. Griffith vious theatre credits include roles in school productions of Willy Wonka and Harold S. Prince Jr. (Willy Wonka) and Shrek (Shrek’s Father). Jelani would like to By Arrangement with Roger L. Stevens thank his family, his squadron, and the entire cast. WEST SIDE STORY is presented through special arrangement with *** Katie Kohler (Director) is a second class cadet and a Humanities ma- Music Theatre International (MTI). All Authorized performance jor. She has been involved in theater consistently since early grade materials are also supplied by MTI school and is excited to be directing her first musical. Katie has been a www.MTIShows.com part of Bluebards since her four-degree year and has been on the Bluebards board since last year. She is also involved with Steel Script, WEST SIDE STORY is rated PG-13 by MTI the spoken word poetry performance club. A Note from the Director Director Katie Kohler West Side Story created an immediate sensation when it debut- ed on Broadway in 1957; never before had a musical addressed contem- Asst. Director Julia Rochester porary social issues — including gang violence, juvenile delinquency, and racial prejudice — with such visceral emotional honesty. Though Vocal Coach Briana Chavez much has changed since that time, political divisiveness, generational Conductor Drew Fressel conflict, and racial intolerance remain harmful forces. Thus, West Side Story, so highly regarded for its catchy songs, its stunning dances, its Choreographers Laura Na, Ross Prado striking themes, and its stylized yet truthful depiction of love and hate, continues to be relevant to audiences today. Bigotry is the poison that Dream Ballet Choreography Sarah Pattillo turns the Jets and Sharks against each other, and tragically, it is only Act I, Scene 4 Staging Alexander Betka, after brought to an end through death; we can preempt these destructive Jerome Robbins consequences in our society, our nation, and our world by working to recognize, address, and overcome prejudice. Creative Team Set Designer Jandy Viloria Thank you for encouraging the cadets in Bluebards. Without Stage Manager Matt Cuoco your support, this organization would not exist. Please enjoy the show. 2 11 Who’s Who in the Cast and Crew The West Side of Manhattan; 1957 Grace Robinson (Francisca) is a four-degree from Oklahoma who has made theater a major part of her life. Having taken part in many pro- Act One ductions in high school, including Shrek and Cats, she is ecstatic to be Scene 1, The Street a part of West Side Story. She appreciates the opportunity to perform Prologue……………………………………………………………………….Jets, Sharks in a topical play that stresses the negative effects of cultural conflict. “Jet Song”…………………………………………………………………………Riff, Jets Grace is a part of the Debate Team and the Cadet Gospel Choir. In her free time, she enjoys writing music, poetry, and playing basketball. Scene 2, Behind the Drugstore “Something’s Coming”………….……………………………….……………….Tony Julia Rochester (Asst. Director) is a freshman who is excited and grateful to take part in her second Bluebards production. Last fall, she Scene 3, The Bridal Shop played Anne in All My Sons, and she is delighted to take on the role of assistant director in this production. Julia is also a Girls Volleyball Scene 4, The Gym manager and a member of the SPIRE group Navigators. She would like Dance at the Gym……………………Jets, Sharks, Jet Girls, Shark Girls to thank her family, the cast, and the production team. “Maria”………………………………………………………………………………………Tony Brooke Schumacher (Pauline) was raised in Georgia, after which she Scene 5, An Alley lived in Saudi Arabia for six years. She has been participating in thea- “Tonight”………………………………………………………………………Maria, Tony tre since she was four and she is excited to continue performing with “America”…………………………………………….Anita, Rosalia, Shark Girls Bluebards; previous school/community theatre productions include The Crucible (Mary Warren) and Aladdin (Genie). She has also been cast in Scene 6, The Drugstore professional productions in New York (Stagedoor Manor) and in Atlanta “Cool”……………………………………………………………….Riff, Jets, Jet Girls (Legacy Theatre). Brooke is a member of the USAFA Judo Team and enjoys rock climbing, filmmaking, and playing the ukulele. Scene 7, The Bridal Shop “One Hand, One Heart”………………………………………………Maria, Tony Preston Semenuk (Baby John) is a four-degree from Texas who is thrilled to be making his Bluebards debut in West Side Story. Previous Scene 8, The Neighborhood theatre roles include Oliver Twist in Oliver!, Jay in Lost in Yonkers, “Tonight” (Quintet)………………Tony, Maria, Anita, Riff, Bernardo and Fiona’s father in Shrek. Preston is a member of the USAFA Ski Club; he also enjoys working out and playing French Horn in the Acade- Scene 9, Under the Highway my Orchestra. Preston offers his most sincere thanks to his family and The Rumble………………………………………………………………….Jets, Sharks his most joyful congratulations to the cast and crew. Act Two Alyssa Tamburo (Dancer) is excited to participate in her first Scene 1, The Bedroom Bluebards show. She has had training in gymnastics, cheer, and dance “I Feel Pretty”…………………………………………………..Maria, Shark Girls (ballet, jazz, hip hop, and contemporary), and has also participated in Dream Ballet/“Somewhere”…………………………………Dancers, Soloist theater since a young age. She has performed in school productions of It’s A Wonderful Life (Ma Bailey), The Library (Detective Washburn), Scene 2, An Alley and Peter Pan (Tinkerbell). Alyssa is also a cheerleader here at USAFA “Gee, Officer Krupke”…………………………………………………Action, Jets and is a proud member of BSU. Alyssa would like to thank her family, her roommates, the choreographers, and the entire production team. Scene 3, The Bedroom “A Boy Like That”/“I Have a Love”……………………………Anita, Maria Kevin Tierney (Doc, Glad Hand) is a senior who tends to do the most random things possible, such as joining Bluebards. As a sophomore, he Scenes 4 & 5, The Drugstore walked into a meeting about the club and, upon realizing that he could Scene 6, The Street 10 3 Cast of Characters Who’s Who in the Cast and Crew Tony Ben Paulk pale modeling are but a few of his hobbies. Ben would like to thank his family and Brickleigh for supporting his acting journey, which has set Maria Alyssa Garmon the stage for his upcoming graduation and transition to pilot training. Thuytien “Twee” Pham (Dancer) is a fun-loving C4C who enjoys spending her days dancing her heart out, especially as a Shark. Ever THE JETS THE SHARKS since she was little, Twee has loved expressing herself creatively Riff Rob Rauff Bernardo Ross Prado through dance, and she has always wanted to participate in musical theater. Joining Bluebards has given her the chance to broaden her Action Todd Campo Chino Jordan Garivay horizons and delve deeper into her theatrical interests. She thanks all Diesel Jimmy Cummings Pepe Jelani Washington of her PHAMily, friends, and the USAFA Fencing Team for supporting her throughout her journey and reminding her to just keep swimming. Baby John Preston Semenuk Indio Derrick Dye A-Rab Lawson Barrett Juano Patrick Newman Mikaela Pollock (Minnie) is a junior from Florida who is very excited Big Deal Chuck Davis Luis Marcos Ferreira to make her theatre debut in Bluebards’ production of West Side Sto- ry. Beyond Bluebards, Mikaela enjoys taking long hikes through the woods, napping, and singing. She sends out a special “thank you” to her friends who pushed her to try something new, to her family for their unending support, and to the whole West Side Story cast. Ross Prado (Bernardo, Choreographer) is excited to perform in his JET GIRLS SHARK GIRLS fifth and final show with Bluebards.
Recommended publications
  • West Side Story
    West Side Story West Side Story is an American musical with a book rary musical adaptation of Romeo and Juliet . He prpro-o- byby Arthur Laurents, mmususiic bbyy Leonard Bernstein,, posed that the plot focus on the conflict between an Irish libretto/lyrics by Stephen Sondheim, and conception and Catholic family and a Jewish family living on the Lower choreography byby Jerome Robbins..[1] It was inspired by East Side ofof Manhattan,,[6] during the Easter–Passover William Shakespeare's play Romeo and Juliet .. season. The girl has survivvived the Holocaust and emi- The story is set in the Upper West Side neighborhood grated from Israel; the conflict was to be centered around in New York City in the mid-1950s, an ethnic, blue- anti-Semitism of the Catholic “Jets” towards the Jewish “Emeralds” (a name that made its way into the script as collar ne neighighborhood. (In the early 1960s much of thethe [7] neineighborhood would be clecleared in anan urban renewal a reference). Eager to write his first musical, Laurents project for the Lincoln Center, changing the neighbor- immediately agreed. Bernstein wanted to present the ma- hood’s character.)[2][3] The musical explores the rivalry terial in operatic form, but Robbins and Laurents resisted between the Jets and the Sharks, two teenage street gangs the suggestion. They described the project as “lyric the- of different ethnic backgrounds. The members of the ater”, and Laurents wrote a first draft he called East Side Sharks, from Puerto Rico, are taunted by the Jets, a Story. Only after he completed it did the group realize it white gang.[4] The young protagonist, Tony, a former was little more than a musicalization of themes that had member of the Jets and best friend of the gang leader, alreadybeencoveredinin plaplaysys liklikee Abie’s Irish Rose.
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]
  • Leonard Bernstein
    chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins.
    [Show full text]
  • WEST SIDE STORY.Pages
    2015-2016 SEASON 2015-2016 SEASON Teacher Resource Guide ! and Lesson Plan Activities Featuring general information about our production along with some creative activities Tickets: thalian.org! !to help you make connections to your classroom curriculum before and after the show. ! 910-251-1788 ! The production and accompanying activities ! address North Carolina Essential Standards in Theatre or! Arts, Goal A.1: Analyze literary texts & performances. ! CAC box office 910-341-7860 Look! for this symbol for other curriculum connections. West Side Story! ! Book by: Arthur Laurents Music by: Leonard Bernstein Lyrics by: Stephen Sondheim ! ! Based on Conception of: Jerome Robbins! Based on Shakespeare's Romeo and Juliet! October 9-11! and 16-18! ! 7:00 PM Thursday - Saturday! and 3:00PM Saturday & Sunday! Hannah Block Historic USO! / Community Arts Center! Second Street Stage 120 South 2nd Street (Corner of Orange) Resource! About this Teaching Resource! This Teaching Resource is designed to help build new partnerships that employ theatre and the Summery:! arts to address some of today’s pressing issues such as youth violence, bullying, gangs, ! interracial tensions, youth-police relations and cultural conflict. This guide provides a perfect ! ! opportunity to partner with law enforcement, schools, youth-based organizations, and community Page 2! groups to develop new approaches to gang prevention.! About the Creative Team, ! Summery of the Musical! About the Musical & Its Relevance for Today! ! Marking its 58th anniversary, West Side Story provides the backdrop to an exploration! Page 3! of youth gangs, youth-police relationships, prejudice and the romance of two young people caught Character & Story Parallels of in a violent cross-cultural struggle.The electrifying music of Leonard Bernstein and the prophetic West Side Story and lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was more than 58 Romeo & Juliet ! years ago.
    [Show full text]
  • West Side Story"
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-6-2014 12:00 AM Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story" Andrew M. Falcao The University of Western Ontario Supervisor Paul Coates The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Andrew M. Falcao 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Falcao, Andrew M., "Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story"" (2014). Electronic Thesis and Dissertation Repository. 2091. https://ir.lib.uwo.ca/etd/2091 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. TRAGEDY, ECSTASY, DOOM: MODERNIST MOODS OF “WEST SIDE STORY” (Thesis format: Monograph) by Andrew Michael Falcao Graduate Program in Global Film Cultures A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Andrew M. Falcao 2014 i Abstract This thesis looks to reposition West Side Story (Jerome Robbins/Robert Wise, 1961) as an example of (neo-)modernist art. Placing the film within its context of Hollywood musicals, I see West Side Story as a particularly rich locus in which to study the genre’s modernist impulses.
    [Show full text]
  • East Side West Side
    WRITINGS OF JOHN MAUCERI JOHNMAUCERI.COM Prologue to Mr. Mauceri's book, "Celebrating West Side East Side, West Side – Story" published by the University of North Carolina School of the Arts 50 Years On How can one measure West Side Story? Do we compare it to the other Broadway shows of 1957? Do we value it because of its influence on music theater? Can we speak of it in terms of other musical versions of Romeo and Juliet? Do we quantify it in terms of the social history of its time? And, most of all, fifty years after its opening night on Broadway, does it mean something important to us today? The answer to all those questions is yes, of course. The fiftieth anniversary of a work of performing art is most telling and significant. That is because after a half century the work has passed out of its contemporary phase and is either becoming a classic or has been forgotten altogether. Fifty years on, members of the original creative team are generally still able to pass on what they experienced once upon a time, and yet, for many, it is an opportunity to experience and judge it for the very first time. Rereading an original Playbill magazine from the week of February 3, 1958 (I was twelve years old when I saw the show), is indeed a cause for multiple surprises and discoveries. Consider the musicals playing on Broadway that week: Bells are Ringing, about a telephone operator; Jamaica, a new Harold Arlen musical with Lena Horne; Li’l Abner, based on a popular comic strip; My Fair Lady with Julie Andrews, New Girl in Town, based on O’Neil’s Anna Christie; Tony Randall starring in Oh, Captain!, based on the Alec Guinness film The Captain’s Paradise; The Music Man with Robert Preston and Barbara Cook.
    [Show full text]
  • West Side Story Previous Recordings
    WEST SIDE STORY PREVIOUS RECORDINGS 1957 Original Broadway Cast Recording 1CD (Columbia Masterworks) Carol Lawrence, Larry Kert (songs only) Prologue (3:50), "Jet Song" (2:06), "Something's Coming" (2:37), The Dance at the Gym (3:02), "Maria" (2:37), "Tonight" (3:53), "America" (4:32), "Cool" (3:58), "One Hand, One Heart" (3:02), "Tonight (Quintet)" (3:38), The Rumble (2:44), "I Feel Pretty" (2:46), "Somewhere (Ballet)" (7:33), "Gee, Officer Krupke" (4:02), "A Boy Like That" / "I Have a Love" (4:15), Finale (1:59) 1961 Original Motion Picture Soundtrack 1CD (Sony/Columbia/Legacy) Natalie Wood, Russy Tamblyn (songs only) Overture (4:39), "Jet Song" (2:06), "Something's Coming" (2:32), "Dance at the Gym" (9:24), "Maria" (2:34), "America" (4:59), "Tonight" (5:43), "Gee, Officer Krupke" (4:14), "I Feel Pretty" (3:35), "One Hand, One Heart" (3:02), "Quintet" (3:22),"The Rumble" (2:39), "Somewhere" (2:02), "Cool" (4:21), "A Boy Like That / I Have a Love" (4:28), End Credits (5:05) 1985 Leonard Bernstein Recording 2CD (Deutsche Grammophon) Te Kanawa, Jose Carreras (full score) 77:08 mins. Cast recording. Includes 21:38 mins. symphonic suite from "On the Waterfront” 1993 London Studio recording 1CD (Warner Classics) Michael Ball, Barbara Bonney (songs only) Prologue (4:42), "Jet Song" (2:47), "Something's Coming" (2:29), The Dance at the Gym: Blues (2:03) / Promenade (0:20) / Mambo (2:19) / Cha-Cha (1:01) / Meeting Scene (1:29) / Jump (1:00), "Maria" (3:03), Balcony Scene ("Tonight") (5:55), "America" (5:01), "Cool" (5:01), "One Hand, One
    [Show full text]
  • Removing the Makeup: a Gritty, Culturally
    Removing the Makeup: A Gritty, Culturally Conscious Take on A Classic By Samara Harand, Victoria Schwarzl, and Claudia Stuart Removing the Makeup: A Gritty, Culturally Conscious Take on A Classic Their hope only leads to tragedy when, after trying to By Samara Harand, Victoria Schwarzl, and Claudia Stuart stop a rumble between the gangs, Bernardo kills Riff (Tony’s best friend) leading Tony to slay Bernardo in return. Maria agrees to run away with Tony, but through a horrific turn of events Tony is mistakenly Before a small crowd at the New 42 nd Street informed that she has been murdered by Chino Studios, Tony-winning director Arthur Laurents (Maria’s suitor and Bernardo’s best friend). Tony sets the scene for the afternoon. He describes the takes to the streets in hopes of reaching the same fate, elaborate set pieces and praises his company, but just as Maria appears and they run to embrace, teasing that this show would be completely Chino shoots him. He dies in Maria’s arms as they sing different than anything ever attempted before. of a better world “Somewhere.” Unlike Shakespeare’s This select group would be the first to see his new Juliet, Maria does not take her own life, but her Broadway revival of West Side Story - the breakdown and threats of violence lead the gangs to celebrated musical for which he wrote the book contemplate their actions and perhaps move towards a and now directs for the first time on Broadway. state of peace. The themes of forbidden love and racial Prior to the first note of Leonard Bernstein’s intolerance still resonate with audiences today, making timeless score, Cody Green takes the floor as it one of the most oft-performed and studied “Riff” and it is immediately apparent that productions in the musical theater canon.
    [Show full text]
  • Ju&Uaj (L-Csv
    Heritage and Innovation of Harmony: A Study of West Side Story By Nathan Miller Spring 2006 JU&UAJ (L-CSV: Gloria Cox . Cho /•% Nathan Miller, Senior Miller 2 containing: What I'm Trying to Say 3 The Work Itself 4 Twentieth Century Musical Theater 8 Atonality, Serialism, and the Twentieth Century Composers 13 The Composer 22 The Music 25 Tonality in West Side Story: A Case Study 40 Atonality: What do we do with it? 46 Conclusion 53 Miller 3 What I'm Trying to Say There are two ideas being explored in this paper: one is the state of music and musical theater in the Western world at the time that West Side Story was written. The other is how the music of West Side Story fits into that timeline, and more specifically, how it answers the proposed questions of the day. There are really two parallel universes being considered: one is the world of musical theater, and the other is the world of serious art music. I feel certain that one of these must be more important than the other for this topic, but I cannot determine which. Personally, I see the events and ideas in the world of serious art music as "setting the stage" for a tremendously exciting drama within the twentieth century—a drama in which West Side Story and its composer Leonard Bernstein were active participants. That issue is also more interesting to me as a musician. However, in my research, most literature and commentary on West Side Story views it in the context of what was happening in the musical theater world, where regardless of my personal feelings, West Side Story certainly made a bigger sensation.
    [Show full text]
  • Tonight from West Side Story Brass Quintet Sheet Music
    Tonight From West Side Story Brass Quintet Sheet Music Download tonight from west side story brass quintet sheet music pdf now available in our library. We give you 6 pages partial preview of tonight from west side story brass quintet sheet music that you can try for free. This music notes has been read 4049 times and last read at 2021-09-22 09:04:20. In order to continue read the entire sheet music of tonight from west side story brass quintet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Horn, Trombone, Trumpet, Tuba Ensemble: Brass Quintet Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Tonight From West Side Story Sax Quintet Tonight From West Side Story Sax Quintet sheet music has been read 2982 times. Tonight from west side story sax quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 09:42:25. [ Read More ] Tonight Quintet From West Side Story Bernstein Brass Band Tonight Quintet From West Side Story Bernstein Brass Band sheet music has been read 5160 times. Tonight quintet from west side story bernstein brass band arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 09:57:28. [ Read More ] Tonight From West Side Story Wind Quintet Tonight From West Side Story Wind Quintet sheet music has been read 3092 times. Tonight from west side story wind quintet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-23 11:04:46.
    [Show full text]
  • Sung by the Jets: Riff, Snowboy, Ice)
    AAP: Music West Side Story – December 4, 2017 1957 musical by Arthur Laurents (book/script), Leonard Bernstein (music), Stephen Sondheim (lyrics), Jerome Robbins (choreography) • Other musicals by Stephen Sondheim (b. 1930): A Funny Thing Happened on the Way to the Forum (1962), Follies (1971) Company (1970), Sweeney Todd (1979), Into the Woods (1987) 1961 film – directed by Jerome Robbins • Won Academy Award (Oscars) for Best Picture (10 awards total) Plot: • Set in New York City • Based on William Shakespeare’s Romeo and Juliet • Main characters are rivals in two gangs: Jets (Gang of white teenagers) Sharks (Gang of Puerto Rican teenagers) Tony – falls in love with Maria Maria – falls in love with Tony Riff – Tony’s best friend and leader of the Bernardo – Maria’s brother and leader of the gang gang Chino – Maria’s fiancé in an arranged marriage Anita – Bernardo’s girlfriend Themes of the musical: Gang violence Tension between different ethnic groups The immigrant experience in America The excitement of becoming an adult Tension between teenagers and adults or authority figures (like police officers) The songs in a musical help you get to know the characters through what they say and their musical style. “Jet Song” (sung by the Jets: Riff, Snowboy, Ice) RIFF You’re home with your own-- When you’re a Jet, When company’s expected, You’re a Jet all the way You’re well protected! From your first cigarette Then you are set To your last dyin’ day. With a capital J, When you’re a Jet, Which you’ll never forget Let them do what they can, Till they cart you away.
    [Show full text]
  • Using West Side Story As a Model
    7. Putting It Together (“Tonight”) IN THIS LESSON • How the pieces of the book fit together and relate to the central theme of the story • How the music relates to the characters and the plot while providing variety • How the lyrics particularize individual moments in the show to explore character or advance the plot Overview The song that accompanies this chapter is the “Tonight” sequence from West Side Story, a musical scene that explores the individuals (Tony, Maria, Anita) and the groups (Sharks and Jets) and how their plans either intersect or diverge. It is a fine example of how a single word can be used by different characters in different ways to create tension and audience expectations, driving the plot forward. The Pieces of the Book The action of West Side Story (book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim) takes place in a two-day time period. It goes from 5:00 p.m. the first day through 9:00 p.m. the next night in Act I. Act two begins at 9:15 p.m. and ends at midnight the same day, compressing the time and accelerating the action. Although the show is very cleverly based on Shakespeare’s Romeo And Juliet, we will not discuss the ingenuity of the adaptation here. Instead, we will focus on the structure of the show and how the structure holds the audience’s interest. This very serious musical has a very simple structure: Act I Prologue: Music and dance show the Jets and their territory being invaded by the Sharks, a rival gang.
    [Show full text]