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horrifying, the workmanship is admirable,” said music from the 1954 film, On the Waterfront, West Side Story The Times, while the Herald Tribune, which also dealt with the savage milieu of the Music by • Lyrics by meaning to be laudatory, used words like streets, only this one seen from the “radioactive fallout … savage … blasted apart.” point of view of organized labour rather than Original Cast, 1957 All of this meant that the show’s initial run street gangs. was a solid, but not overwhelming 734 Despite winning the Oscar for best motion West Side Story now seems so firmly enthroned center on the rivalry between two gangs in performances and that – at that year’s Tony picture score, only a small portion of the original as one of the major classics of the musical Manhattan: one made up of Irish and Italian Awards – the crowd-pleasing The Music Man appeared on record, as filler to an theatre that it’s fascinating to remind ourselves Catholics, the other of Jewish immigrants. swept all the major awards except for obscure musical two years after the fact. It’s of some things: Robbins saw it all happening on one of those choreography and set design, which went to included here along with two English pop It almost was a totally different project infrequent occasions when the religious festivals West Side Story’s Robbins and Oliver Smith. versions of the main theme, one with poetic altogether. of Easter and Passover coincided, to up the But history is often written lyrics by John Latouche and a haunting The show nearly didn’t get produced. mythic and religious quotient even further. with the hour hand, not the minute hand, and performance by Eve Boswell. The original reaction to the project wasn’t The title they came up with was ‘East Side subsequent revivals – as well as the Oscar Bernstein always was the man in 20th ecstatic. Story’. winning bonanza that was the 1961 film version century music, but the mid-1950s were certainly It all started with – which is Bernstein was immediately the most – have seen to it that this is a show which will his moment. why this was the first production ever that enthusiastic and, supposedly, some of the never leave our consciousness. carried an ‘Entire production conceived, directed musicals themes he created in 1949 remained An appropriate bonus to this recording is Richard Ouzounian and choreographed by …’ credit attached to it. with the show all along. Robbins had long been drawn to the story of But Laurents found it tough going. “It all , especially in its balletic started to seem sort of stale, sort of Abie’s Irish Also available in the Naxos Musicals series ... version, but in 1949 he was having an affair with Rose,” he said, evoking the spirit of the wildly the actor Montgomery Clift and Clift was having popular 1922 pot-boiler by Anne Nichols that trouble handling the role of Romeo in an acting outlined the misadventures of a Jewish boy and class assignment. his Irish love in the New York of the 1920s. Together, he and Robbins evolved the idea And the mercurial Robbins, overloaded with that it might be more relevant to think of the work and quick to bridle at any lack of Montagues and Capulets as street enthusiasm, went elsewhere, but he began gangs, but Robbins, with his deeply rooted working out some of these themes in his 1949 Jewish heritage and sense of being an outsider, ballet, The Guests, which dealt with romantic took it further. couples divided by ethnic diversity. Before long, he was pitching But then, in 1955, fate struck again. Laurents Leonard Bernstein and librettist and Bernstein found themselves on different on the idea of a new kind of musical, serious in assignments in Hollywood and one day, sitting intent, heavily driven by dance, that would outside at the pool of the Chateau Marmont,

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they started exploring works they might do was having troubles with his own musical, New horrifying, the workmanship is admirable,” said music from the 1954 film, On the Waterfront, West Side Story together. Girl in Town. But hearing the sound of fellow The New York Times, while the Herald Tribune, which also dealt with the savage milieu of the Music by Leonard Bernstein • Lyrics by Stephen Sondheim Laurents noted the headline on the morning artists in pain, and his partner, Bobby meaning to be laudatory, used words like Manhattan streets, only this one seen from the paper: ‘More Mayhem From Chicano Gangs’. Griffith, listened to the score and agreed to put “radioactive fallout … savage … blasted apart.” point of view of organized labour rather than Original Cast, 1957 Suddenly, their project from 1949 acquired the show on the stage. All of this meant that the show’s initial run street gangs. new life, with Bernstein hearing Latin rhythms in Then the hard part started. was a solid, but not overwhelming 734 Despite winning the Oscar for best motion his head and Laurents realizing that a whole new Robbins had always been known as a performances and that – at that year’s Tony picture score, only a small portion of the original level of social awareness could be added to the combination of great artist and horrible human Awards – the crowd-pleasing The Music Man soundtrack appeared on record, as filler to an show. being, but both those qualities seemed to swept all the major awards except for obscure musical two years after the fact. It’s Robbins came out shortly to work on a film intensify as he worked on West Side Story. He choreography and set design, which went to included here along with two English pop and agreed the idea was a sound one; they kept split the cast into groups, according to the gangs West Side Story’s Robbins and Oliver Smith. versions of the main theme, one with poetic it in Manhattan, but just moved it across town to they were playing, and encouraged personal But musical theatre history is often written lyrics by John Latouche and a haunting where the troubled Hispanic gangs were duking antipathy. with the hour hand, not the minute hand, and performance by Eve Boswell. it out with the whites who had lived there for He drove individual performers so brutally subsequent revivals – as well as the Oscar Bernstein always was the man in 20th years. And so, West Side Story was conceived. and so hard that one day, while giving notes, winning bonanza that was the 1961 film version century music, but the mid-1950s were certainly Notice, I didn’t say ‘born’, because that nearly Robbins began walking backwards towards the – have seen to it that this is a show which will his moment. didn’t happen. The creation of the work went as orchestra pit and nobody warned him of his never leave our consciousness. smoothly as one could expect with such three trajectory. He suffered a humiliating fall. An appropriate bonus to this recording is Richard Ouzounian egotists, although things got a little smoother But all of that energy, all of that tension paid when a 25 year old named Stephen Sondheim off in the end and you can hear it on the original was brought in to co-write the lyrics with the cast recording. The gangs snarl and snap like few Also available in the Naxos Musicals series ... overworked Bernstein. (After the Washington have ever done since and the anger underneath opening, Bernstein removed his name, leaving the love comes through. Sondheim sole lyricist, an honour the latter has Larry Kert was a last minute choice as Tony considered a mixed blessing over the years, (“They were looking for a big blond Polish guy regarding his feelings about some of the show’s and they got a short dark Jewish one,” quipped more simplistic lyrics.) Kert at the time) but his voice soars gloriously, But when the work was completed, they had especially in the song added for him during trouble raising money for such an edgy project. rehearsals, Something’s Coming. And lead producer Cheryl Crawford increasingly sings with purity and beauty, lost hope, finally pulling out and abandoning the making her numbers a clear standout and Chita project a month before it was to go into Rivera sizzles in the style she embodies to this day. rehearsals. But when it opened on Broadway on Sondheim called his good friend, Hal Prince, 26 September 1957, the reviews were admiring on the phone in Boston, where the producer but not hit-making. “Although the material is

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they started exploring works they might do was having troubles with his own musical, New horrifying, the workmanship is admirable,” said music from the 1954 film, On the Waterfront, West Side Story together. Girl in Town. But hearing the sound of fellow The New York Times, while the Herald Tribune, which also dealt with the savage milieu of the Music by Leonard Bernstein • Lyrics by Stephen Sondheim Laurents noted the headline on the morning artists in pain, Prince and his partner, Bobby meaning to be laudatory, used words like Manhattan streets, only this one seen from the paper: ‘More Mayhem From Chicano Gangs’. Griffith, listened to the score and agreed to put “radioactive fallout … savage … blasted apart.” point of view of organized labour rather than Original Cast, 1957 Suddenly, their project from 1949 acquired the show on the stage. All of this meant that the show’s initial run street gangs. new life, with Bernstein hearing Latin rhythms in Then the hard part started. was a solid, but not overwhelming 734 Despite winning the Oscar for best motion West Side Story now seems so firmly enthroned center on the rivalry between two gangs in his head and Laurents realizing that a whole new Robbins had always been known as a performances and that – at that year’s Tony picture score, only a small portion of the original as one of the major classics of the musical Manhattan: one made up of Irish and Italian level of social awareness could be added to the combination of great artist and horrible human Awards – the crowd-pleasing The Music Man soundtrack appeared on record, as filler to an theatre that it’s fascinating to remind ourselves Catholics, the other of Jewish immigrants. show. being, but both those qualities seemed to swept all the major awards except for obscure musical two years after the fact. It’s of some things: Robbins saw it all happening on one of those Robbins came out shortly to work on a film intensify as he worked on West Side Story. He choreography and set design, which went to included here along with two English pop It almost was a totally different project infrequent occasions when the religious festivals and agreed the idea was a sound one; they kept split the cast into groups, according to the gangs West Side Story’s Robbins and Oliver Smith. versions of the main theme, one with poetic altogether. of Easter and Passover coincided, to up the it in Manhattan, but just moved it across town to they were playing, and encouraged personal But musical theatre history is often written lyrics by John Latouche and a haunting The show nearly didn’t get produced. mythic and religious quotient even further. where the troubled Hispanic gangs were duking antipathy. with the hour hand, not the minute hand, and performance by Eve Boswell. The original reaction to the project wasn’t The title they came up with was ‘East Side it out with the whites who had lived there for He drove individual performers so brutally subsequent revivals – as well as the Oscar Bernstein always was the man in 20th ecstatic. Story’. years. And so, West Side Story was conceived. and so hard that one day, while giving notes, winning bonanza that was the 1961 film version century music, but the mid-1950s were certainly It all started with Jerome Robbins – which is Bernstein was immediately the most Notice, I didn’t say ‘born’, because that nearly Robbins began walking backwards towards the – have seen to it that this is a show which will his moment. why this was the first production ever that enthusiastic and, supposedly, some of the didn’t happen. The creation of the work went as orchestra pit and nobody warned him of his never leave our consciousness. carried an ‘Entire production conceived, directed musicals themes he created in 1949 remained smoothly as one could expect with such three trajectory. He suffered a humiliating fall. An appropriate bonus to this recording is Richard Ouzounian and choreographed by …’ credit attached to it. with the show all along. egotists, although things got a little smoother But all of that energy, all of that tension paid Robbins had long been drawn to the story of But Laurents found it tough going. “It all when a 25 year old named Stephen Sondheim off in the end and you can hear it on the original Romeo and Juliet, especially in its balletic started to seem sort of stale, sort of Abie’s Irish was brought in to co-write the lyrics with the cast recording. The gangs snarl and snap like few Also available in the Naxos Musicals series ... version, but in 1949 he was having an affair with Rose,” he said, evoking the spirit of the wildly overworked Bernstein. (After the Washington have ever done since and the anger underneath the actor Montgomery Clift and Clift was having popular 1922 pot-boiler by Anne Nichols that opening, Bernstein removed his name, leaving the love comes through. trouble handling the role of Romeo in an acting outlined the misadventures of a Jewish boy and Sondheim sole lyricist, an honour the latter has Larry Kert was a last minute choice as Tony class assignment. his Irish love in the New York of the 1920s. considered a mixed blessing over the years, (“They were looking for a big blond Polish guy Together, he and Robbins evolved the idea And the mercurial Robbins, overloaded with regarding his feelings about some of the show’s and they got a short dark Jewish one,” quipped that it might be more relevant to think of the work and quick to bridle at any lack of more simplistic lyrics.) Kert at the time) but his voice soars gloriously, Montagues and Capulets as New York City street enthusiasm, went elsewhere, but he began But when the work was completed, they had especially in the song added for him during gangs, but Robbins, with his deeply rooted working out some of these themes in his 1949 trouble raising money for such an edgy project. rehearsals, Something’s Coming. Jewish heritage and sense of being an outsider, ballet, The Guests, which dealt with romantic And lead producer Cheryl Crawford increasingly Carol Lawrence sings with purity and beauty, took it further. couples divided by ethnic diversity. lost hope, finally pulling out and abandoning the making her numbers a clear standout and Chita Before long, he was pitching composer But then, in 1955, fate struck again. Laurents project a month before it was to go into Rivera sizzles in the style she embodies to this day. Leonard Bernstein and librettist Arthur Laurents and Bernstein found themselves on different rehearsals. But when it opened on Broadway on on the idea of a new kind of musical, serious in assignments in Hollywood and one day, sitting Sondheim called his good friend, Hal Prince, 26 September 1957, the reviews were admiring 8.120846 8.120875 8.120885 intent, heavily driven by dance, that would outside at the pool of the Chateau Marmont, on the phone in Boston, where the producer but not hit-making. “Although the material is These titles are not for retail sale in the USA

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West Side Story 14. Gee, Officer Krupke! 4:01 West Side Story Original Cast (Leonard Bernstein–Stephen Sondheim) Eddie Roll, Grover Dale & The Jets The Jets The Sharks 1. Prologue 3:51 15. 2:07 , Carol Lawrence Riff (The Leader) Mickey Calin Bernardo (The Leader) Ken Le Roy Orchestra Tony (His Friend) Larry Kert Maria (His Sister) Carol Lawrence 2. Jet Song 2:06 16. I Have A Love 2:08 Chita Rivera, Carol Lawrence Action Eddie Roll Anita (His Girl) Chita Rivera The Jets A-Rab Tony Mordente Chino (His Friend) Jamie Sanchez 3. Something’s Coming 2:31 17. Finale 1:56 Baby John David Winters Pepe George Marcy Larry Kert Ensemble Snowboy Grover Dale Indio Noel Schwartz 4. The Dance At The Gym 3:00 Orchestra conducted by Max Goberman Big Deal Luis Al De Sio Orchestra Recorded 29 September 1957, New York Diesel Hank Brunjes Anxious Gene Gavin 5. Maria 2:36 Columbia OS 2001 (stereo) Gee-Tar Tommy Abbott Nibbles Ronnie Lee Larry Kert Mouthpiece Frank Green Juano Jay Norman On The Waterfront Tiger Lowell Harris Toro Erne Castaldo 6. Tonight 3:51 18. On The Waterfront: Themes 5:25 Moose Jack Murray Larry Kert, Carol Lawrence Their Girls (Leonard Bernstein) 7. America 4:32 Graziella Wilma Curley Their Girls Morris Stoloff conducting the Velma Carole D’Andrea Rosalia Marilyn Cooper Chita Rivera, Marilyn Cooper, Reri Grist & Orchestra Shark Girls Minnie Nanette Rosen Consuelo Reri Grist Decca DL 8396. mx MG 5121 Clarice Marilyn D’Honau Teresita Gutierrez 8. Cool 3:58 Recorded 1954, Hollywood Pauline Julie Oser Francisca Elizabeth Taylor Mickey Calin & The Jets 19. On The Waterfront 2:38 Anybodys Lee Becker Estella Lynn Ross 9. One Hand, One Heart 2:59 (Leonard Bernstein–John Latouche) Margarita Liane Plane Larry Kert, Carol Lawrence Eve Boswell with The Adults Ron Goodwin & His Orchestra 10. Tonight (Quintet) 3:39 Doc Art Smith Parlophone R 3913, mx CE 15099 Larry Kert, Carol Lawrence, Chita Rivera, Schrank Arch Johnson Recorded 1954, London Ken Le Roy, Mickey Calin Krupke William Bramley 11. The Rumble 2:40 20. On The Waterfront 2:57 Glad Hand John Harkins Jets, Sharks & Orchestra (Leonard Bernstein) 12. 2:46 Ron Goodwin & His Orchestra Transfers & Production: David Lennick • Digital Restoration: Graham Newton Parlophone R 3923, mx CE 15074-2A Carol Lawrence, Marilyn Cooper, Cover design based on images © Matt Ragen (background façade), Nastiakru (couple) and C Recorded 1954, London Carmen Gutierrez, Elizabeth Taylor Dimitar Marinov (dancers); all from Dreamstime.com. 13. Somewhere (Ballet) 7:31 M Larry Kert, Carol Lawrence, Reri Grist & Ensemble Y

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West Side Story 14. Gee, Officer Krupke! 4:01 West Side Story Original Cast (Leonard Bernstein–Stephen Sondheim) Eddie Roll, Grover Dale & The Jets The Jets The Sharks 1. Prologue 3:51 15. A Boy Like That 2:07 Chita Rivera, Carol Lawrence Riff (The Leader) Mickey Calin Bernardo (The Leader) Ken Le Roy Orchestra Tony (His Friend) Larry Kert Maria (His Sister) Carol Lawrence 2. Jet Song 2:06 16. I Have A Love 2:08 Chita Rivera, Carol Lawrence Action Eddie Roll Anita (His Girl) Chita Rivera The Jets A-Rab Tony Mordente Chino (His Friend) Jamie Sanchez 3. Something’s Coming 2:31 17. Finale 1:56 Baby John David Winters Pepe George Marcy Larry Kert Ensemble Snowboy Grover Dale Indio Noel Schwartz 4. The Dance At The Gym 3:00 Orchestra conducted by Max Goberman Big Deal Martin Charnin Luis Al De Sio Orchestra Recorded 29 September 1957, New York Diesel Hank Brunjes Anxious Gene Gavin 5. Maria 2:36 Columbia OS 2001 (stereo) Gee-Tar Tommy Abbott Nibbles Ronnie Lee Larry Kert Mouthpiece Frank Green Juano Jay Norman On The Waterfront Tiger Lowell Harris Toro Erne Castaldo 6. Tonight 3:51 18. On The Waterfront: Themes 5:25 Moose Jack Murray Larry Kert, Carol Lawrence Their Girls (Leonard Bernstein) 7. America 4:32 Graziella Wilma Curley Their Girls Morris Stoloff conducting the Velma Carole D’Andrea Rosalia Marilyn Cooper Chita Rivera, Marilyn Cooper, Reri Grist & Columbia Pictures Orchestra Shark Girls Minnie Nanette Rosen Consuelo Reri Grist Decca DL 8396. mx MG 5121 Clarice Marilyn D’Honau Teresita Carmen Gutierrez 8. Cool 3:58 Recorded 1954, Hollywood Pauline Julie Oser Francisca Elizabeth Taylor Mickey Calin & The Jets 19. On The Waterfront 2:38 Anybodys Lee Becker Estella Lynn Ross 9. One Hand, One Heart 2:59 (Leonard Bernstein–John Latouche) Margarita Liane Plane Larry Kert, Carol Lawrence Eve Boswell with The Adults Ron Goodwin & His Orchestra 10. Tonight (Quintet) 3:39 Doc Art Smith Parlophone R 3913, mx CE 15099 Larry Kert, Carol Lawrence, Chita Rivera, Schrank Arch Johnson Recorded 1954, London Ken Le Roy, Mickey Calin Krupke William Bramley 11. The Rumble 2:40 20. On The Waterfront 2:57 Glad Hand John Harkins Jets, Sharks & Orchestra (Leonard Bernstein) 12. I Feel Pretty 2:46 Ron Goodwin & His Orchestra Transfers & Production: David Lennick • Digital Restoration: Graham Newton Parlophone R 3923, mx CE 15074-2A Carol Lawrence, Marilyn Cooper, Cover design based on images © Matt Ragen (background façade), Nastiakru (couple) and C Recorded 1954, London Carmen Gutierrez, Elizabeth Taylor Dimitar Marinov (dancers); all from Dreamstime.com. 13. Somewhere (Ballet) 7:31 M Larry Kert, Carol Lawrence, Reri Grist & Ensemble Y

5 8.120887 6 8.120887 K WEST SIDE STORY 8.120887 WEST SIDESTORY Carmen Gutierrez Carmen Chita Rivera Larry Kert O byStephenSondheim •Lyrics Bernstein Music byLeonard 7 Finale 17. IHaveALove 16. ABoyLikeThat 15. Krupke! Gee,Officer 14. (Ballet) Somewhere 13. IFeelPretty 12. TheRumble 11. Tonight (Quintet) 10. o o aei h ntdSae MadeinGermany Not for SaleintheUnitedStates ൿ www. NOTES ANDFULLRECORDING DETAILS INCLUDED Transfers &Production: DavidLennick •DigitalRestoration: Graham Newton .America 7. .OneHand, OneHeart 9. Cool 8. Tonight 6. Maria 5. TheDanceAt TheGym 4. Something’sComing 3. JetSong 2. Prologue 1. RIGINAL & Ꭿ 09NxsRgt nentoa t.Design: RonHoares Ltd. 2009 NaxosRightsInternational naxos.com R T IFF E C ONY NSEMBLE T T A T & T AST O ONY ONY HE NITA A RCHESTRA 2:36 HE NITA J , M M J ETS , R ETS R • Carol Lawrence • Carol J ARIA A ETS ARIA 1:56 OSALIA NITA ECORDING , S • MarilynCooper A 2:06 T HARKS , R NITA T 3:58 ERESITA , M ONY 3:51 3:51 OSALIA , C T , M ARIA A T ONY ONSUELO , M T CTION ONY & O ARIA ONY O , T , M ARIA • ElizabethTaylor RCHESTRA 2:08 ERESITA RCHESTRA , M 2:31 ARIA , S 1957, C 2:07 , A NOWBOY ARIA & S NITA , C , F HARK ONSUELO , B RANCISCA 2:59 3:00 Total Time68:19 2:40 M ERNARDO & T G ARIA ONDUCTOR R IRLS OSALIA HE , E NSEMBLE • MickeyCalin J 2:46 4:32 ETS , R IFF • ReriGrist 4:01 F 3:39 RANCISCA 7:31 M AX 1954 R WATERFRONT ON THE 0 OnTheWaterfront 20. OnTheWaterfront 19. OnTheWaterfront: Themes 18. • Grover Dale • Grover G OBERMAN STEREO Ron Goodwin&HisOrchestra Bernstein) (Leonard Ron Goodwin&HisOrchestra Eve Boswellwith Latouche) Bernstein–John (Leonard Orchestra Columbia Pictures conductingthe Morris Stoloff Bernstein) (Leonard C R IFF ONSUELO • ECORDINGS Ken LeRoy • EddieRoll S NOWBOY ADD 2:57 2:38 B ERNARDO A CTION MONO 8.120887

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