West Side Story
1
Original Cast Recording
Music
Lyrics
Book
Leonard Bernstein
Stephen Sondheim
Arthur Laurents
April 19, 20, 21, 26, 27, 28
2012
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
International productions
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 .

2
Set in New York City in the mid-1950s, 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 white working-class group.
[1]
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 has become extremely popular; it 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 five Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson 's The Music Man ; it won a Tony Award for Robbins' choreography. 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.
The stage musical is produced frequently by schools, regional theatres, and occasionally by opera companies.
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 wasn't: "cut the frabba-jabba", for example.
[10]
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 "América" 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.
[11]
Bernstein composed West Side Story and Candide concurrently, which led to some switches of material between the two works.
[12]
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 .
[13]
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."
[14]
Prince began cutting the budget and raising money. Robbins then announced he didn't 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,
[13]

3 and allowed Robbins to hire Peter Gennaro as his assistant.
[18]
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.
[19]
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.
[20]
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
[21] bodies.
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.
[13]
Columbia Records initially declined to record the cast album , saying the score was too depressing and too difficult.
[3]
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.
[22]
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.
[23]
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.
[24]
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.
[25]
)
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Two teenage gangs, the Jets (White) and the Sharks (Puerto Rican), struggle for control of the neighborhood, amidst police whistles and taunts (Prologue). They are warned by Lt. Schrank and Officer Krupke to stop

4 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 (" Tonight "). Meanwhile, Anita and the other Shark girls discuss the differences between the territory of Puerto Rico and the mainland United States of America (" América ").
The Jets get antsy while waiting for the Sharks inside Doc's Drug Store. They let out all of their aggression in the number ("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 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.
Tony meets Maria at the bridal shop the next day, where they dream of their wedding ("One Hand, One Heart").
She asks Tony to stop the fight, which he agrees to do. 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 each other under the highway, and as the fight between Bernardo and Diesel is just beginning, 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 knife fight ("The Rumble"). Tony warns 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.
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5
Tony (Justin Gordon) and Maria (Erica Racz) in a Pacific Repertory Theatre production in 2001.
In the bridal shop, Maria has not heard the news and daydreams happily about seeing Tony with her friends—
Rosalia, Consuelo, Teresita and Francisca ("I Feel Pretty"). Just then, Chino brings the news that Tony has killed Bernardo. Maria flees to her bedroom, praying that Chino is mistaken. Tony arrives to see Maria, and in a fit of rage she throws her fists at him until he finally calms her down and they plan to run away together; as the walls of Maria's bedroom disappear, they find themselves in a dreamlike world of peace (" Somewhere ").
The Jets try their hardest to get their minds off the death of Riff by poking fun at all of the adults who try to make sense of what they do ("Gee, Officer Krupke"). The Jets make Action leader of the gang. Anybodys brings news that she overheard Chino planning to hunt down Tony and kill him with a gun. The Jets then spread out to find Tony and protect him from Chino. They also accept Anybodys into the Jets. Anybodys falls in love with Action.
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. Anita sees that Tony has been with Maria, and asks in horror how she can love the man who killed her brother (" A Boy Like That "). Maria responds passionately with her own song ("I Have a Love"), though, and Anita understands 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, and Anita reluctantly agrees to go to Doc's to tell Tony to wait. At the store, the Jets taunt Anita with racist innuendo and insults. The taunts turn into physical abuse, and Doc returns to the store horrified to find the boys nearly raping Anita. In her anger, Anita, who is in tears, tells the Jets that
Bernardo was right about them, and then claims that Chino has killed Maria in jealousy. Anita rushes out of the store. 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 die 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 hatred is what killed Tony and the others, and now she can kill, because now she hates, too. 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 they carry Tony away with Maria being the last one in the procession.

The Jet's Girls The Jets
Riff, quick-tempered leader of the Jets
Tony, former Jet leader gone straight
Action
A-Rab
Indio
Luis
Anxious
Nibbles
Juano
Toro
Moose
Graziella
Velma
Minnie
Clarice
Baby John
Snowboy
Big Deal
Pauline
Anybodys, a tagalong tomboy
The Shark's Girls
Diesel
Gee-Tar
Maria, Puerto Rican ingenue; Bernardo's sister
Anita, Maria's saucy older friend; Bernardo's girl
Rosalia, Anita's foil in "America" Mouthpiece
Tiger
The Sharks
Bernardo, Maria's brother, leader of the Sharks
Consuelo
Teresita
Francisca
Chino, Maria's angry young suitor; Bernardo's friend Estrella
Pepe Margarita
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The Adults
Officer Krupke, a cop – a dolt
Glad Hand, a fidgety chaperone – silly, ideal
Doc, a weary old candy store owner, grandpa-ish
Detective Schrank – tyrannical, burnt out
Act 2 Act 1
"Prologue" (Instrumental) – Jets and Sharks
"Jet Song" – Riff, Action, Baby John, A-rab, Big Deal and Jets
"I Feel Pretty" ("Me Siento Hermosa" in the 2009 revival) – Maria, Consuelo, Rosalia, Teresita,
Francisca and Shark Girls
"Something's Coming" – Tony
"Dance At The Gym" (Instrumental) – Jets and Sharks
"Somewhere" (Song and Dance) – Company and
"Dream Consuelo" (in the 2009 revival, "Kiddo",
Tony, Maria, and Company)
"Maria" – Tony
"Tonight" – Tony and Maria
"Gee, Officer Krupke" – Action, A-rab, Diesel, Baby
John and the Jets
"America" – Anita, Rosalia, Shark Girls "A Boy Like That" ("Un Hombre Así" in the 2009 revival) / "I Have A Love" – Anita and Maria
"Cool" – Riff and Jets
"One Hand, One Heart" – Tony and Maria
"Taunting Scene" (Instrumental) – Anita and Jets
"Finale" – Tony and Maria
"Tonight Quintet and Chorus" – Anita, Tony, Maria,
Bernardo, Riff, Jets and Sharks
"The Rumble" ( Dance ) – Jets and Sharks
"Entr'acte" (Instrumental)
Many of the key characters in West Side Story are based on counterparts in Romeo and Juliet :
Tony/ Romeo
Maria/ Juliet
Bernardo/ Tybalt
Anita/ Nurse and Lady Capulet
Riff/ Mercutio
Jets/ Montagues
Sharks/ Capulets
Schrank & Officer Krupke/ Prince Escalus and Citizens
Action/ Sampson
A-Rab/ Abraham
7

Baby John/ Benvolio
Doc/ Friar Laurence and the Apothecary
Chino/ Paris
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Anybodys/ Balthasar 8
This section does not cite any references or sources . Please help improve this section by adding citations to reliable sources . Unsourced material may be challenged and removed . (November 2011)
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 reoccurring dream, similar to Romeo like the one he tells Mercutio about.
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.

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All auditioners will present 1) a song, 2) a monologue, 3) dance in a group piece that is taught to you. As you read the following information, more clarification will be given for NAMED ROLES as well as ADULT ROLES, and if you wish us to see you dance in a solo piece.
1) Monologues are to be 1 – 2 minutes in length. No more.
2) Songs are to be 1 verse and 1 chorus in length. No lead-ins, please. You certainly may choose to begin your song at a certain place and cut to a big ending. Our piano accompanist will work with you on rehearsing your song introduction, tempo, and other special needs, prior to your audition.
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1. Choose a specific character to audition for. This makes your preparation more specific and delineated. You know more traits, more interaction on this character’s part, more associations.
2. Or, choose to audition for “Company”. The company members will be featured in a number of sequences
– moments during the “Prologue” also, the “Dance at the Gym”, though you might not be dancing, but, could be dancing a secondary sequence of movements in the “Quintet” prior to the Rumble possibly in some movement and singing in “Somewhere” during the “Dream Sequence the final scene of the musical
3. Company members will be either a JET or a SHARK, so you would indicate which you would be associated with. (See the monologue provided for male and female company members at the end of this packet. This is what you will present at auditions.
Memorized and fully blocked. Suggestion of ACCENT if you are going for a Shark.)
4. Those auditioning for a named role for the Sharks or Jets should secure a monologue,
1 - 2 minutes in length
– to present at auditions. Memorized. Fully blocked. The named roles are listed here:
JETS – (males) Tony, Riff, Action, A-Rab, Baby John, Diesel (Suggestion of a NY accent, if possible)
All other Jet males may use the provided “company” monologue. I remind you that you are auditioning as a member of the Jets, however, not a member of the company. Names are
Snowboy, Big Deal, Gee-Tar, Mouthpiece, Tiger. Suggestion of NY accent, if possible.
All Jet females should also use the provided “company” monologue. Also, I remind you that you are auditioning as a member of the Jets, not a member of the company.
Names are Graziella, Velma, Minnie, Clarice, Pauline, Anybodys.

Graziella is Riff’s girlfriend. She has a line or two. She and Riff are featured dancers in the
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Dance at the Gym. Suggestion of NY accent, if possible.
SHARKS – (males) Bernardo, Chino, Pepe, – same as above Jets regarding auditions.
(females) Maria, Anita, Consuelo. Suggestion of a Puerto Rican accent, if possible.
All other Shark males may use the provided “company” monologue. I remind you that you are auditioning as a member of the Sharks, however, not a member of the company. Names are
Indio, Luis, Anxious, Nibbles, Juano, Toro, Moose. Female Sharks names are Teresita,
Trancisca, Estella, Margarita. All female Sharks are strongly featured in the song and dance
“America” – so…know that these parts bring singing and dancing challenges…and huge fun!
But the singing is especially difficult.
SEARCHING FOR MONOLOGUES – Lots of places on internet – I find keying in Movie
Monologues to be extremely productive. The text is free. Gives you lots of information.
Your choice needs to get into the character you’re auditioning for as much as possible.
The alienation and angst of youth, of growing up…
The life of the inner city…
Having to make a huge decision (as Tony did) for something “better”…
Choosing the wrong path, and knowing it…
A moment of insight which you ignore…
Reflecting on a personal tragedy…
Fighting back against some kind of persecution…
(I hope you are getting the “content” idea here.)
5. “ADULT” characters – These are non-singing/dancing roles. True “character” roles for you
I have provided monologues for your audition. If you are called back, you will be reading your audition parts from the script.
These adult parts are
–
Doc – played around 60-ish or a bit older – worked all his life in his soda shop; knows the young people, the cops, the neighborhood. He’s street-wise and life-wise. Of course, that is all lost on the young people. He reprimands and consoles. He represents the voice of reason. He is as tragically affected by the conflict as the kids are.
Lieutenant Schrank – a seasoned detective – middle aged, maybe 40-ish. He is forceful and threatening, sarcastic, burnt out, impatient. The worst kind of cop for this beat.
Represents the ineffective efforts of the “law”. In the end, however, he feels the loss, his own deadly incompetence, and the tragedy of it all.
Officer Krupke – a “beat cop” – this west side area is his territory to patrol, along with
Lt. Schrank, whom he is seen with at the outset, breaking up the fight. He hopefully is a large guy, with a kind of oafish demeanor…easy to tease. We can pick the age – but usually 30 –
40. He, too, is present at the end, feeling the loss.

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Glad Hand – affiliated with the school the kids attend – he is the chaperone at the
Dance at the Gym – one quick scene – he is idealistic, nerdish, way too bright and cheerful – very easy to make fun of, which the kids do. He, too, is present at the end, head bowed, heart broken.
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Audition methodology…..
June 24
– 4:00 – 9:30 pm – Main theater.
Fill out an audition form when you arrive. All auditioners (except for the Adult characters) must sing and dance their audition.
We will call for them, and assign a group letter and an individual audition number to you.
You will come in to present your monologue and your song with your group. And you will perform your song and monologue individually based on your number. You will complete your dance sequence with your group. Twice.
If you need to leave early, please make sure you tell me and I will place you in group A or B for your audition.
After you receive your audition group/number, you will learn your dance audition piece. Ms.
Emily Brinkman will bring everyone on stage and teach you the sequence. This usually takes about 45 – 50 minutes. We will then take a break while you warm up and get ready for your audition. Usually about 30 minutes. Then we begin with group A.
ADULT characters – Schrank, Doc, Krupke, Gladhand – you do not have to sing or dance,
UNLESS you wish to be considered for a part other than these acting roles. If you do, then you need to present a song, as well as dance with a group, at the first audition on the 24 th
.
You will be placed in a group regardless of whether you are being considered for other roles or if you wish only to be considered for this adult role.
FEATURED DANCERS
– if you wish us to see you dance solo to your own choreographed piece, please indicate this on your audition sheet. We will have a CD player and an Ipod player available for you. Please, no more that 1 – 2 minutes in length.
When you are in place to audition, please introduce yourself, your grade (freshman, sophomore, etc.), your school, and tell us something about theatre that you just love!
Tell us what we need to know
– setting, situation, character info – about your monologue that will help us understand and believe you. Tell us the title of your song, composer, show it is from.
When your group has completed auditioning, you should wait until Ms. Mascari calls you over to indicate if we need you to return to Call Backs on Wednesday, Jan. 25.
Casting will be posted on the St. Xavier Website… www.stxavier.org
…go to Quick Links or
Students in the Arts…and the listing will be on the TX page by Friday at noon. Also, check
Ms. Mascari’s door to the backstage offices, where she will also post it.
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TONY – the hero – tenor – originated the Jets gang – no longer part of it, he’s working and trying to make a future. Riff’s best friend. Falls in love with Maria at first sight. A romantic.
Tries to idealistica lly control the fighting. He is “all good”…a very tough thing to be. This is a very challenging role – acting wise and singing wise. Dancing is secondary, but necessary.
Balance, coordination, physical movement – fight sequences. Bold, natural acting.
RIFF
– baritone - leader of the Jets
– scrappy and humorous – a leader with words and with actions
– caring about his gang, and caught up in the pride of “ownership” of his little piece of the city. A fighter – Dancing is of primary importance. While his singing voice doesn’t have to be the best, he still has to deliver. Balanced, coordinated, physical – fight sequences.
Bernardo
–
baritone/bass - leader of the Sharks
– smooth and commanding – a leader by example – with actions and words. He is jaded about the “freedoms” in America…he and all
Puerto Ricans suffer from various forms of racism. He will fight to “own” his little piece of the city. He has some solo parts in the “Quintet”, so must have a good voice. Dancing is primary.
His flair is smooth and graceful, and powerful. Balanced, coordinated, physical
– fight sequences.
Chino
– Bernardo’s younger friend, Maria’s suitor. Worships Bernardo, loves Maria. Comes across as younger and innocent, unless he is fighting Jets. No solos. Dancing – yes, at the gym and in the prologue. Fighting in the rumble. Balanced and physical.
Pepe – Bernardo’s right hand man. Featured in the prologue and major presence in dance at the gym. Balanced and physical. Fighting. Looks strong. Acting. Has to do it all.
Maria
– soprano -
Bernardo’s sister, Tony’s love interest. Younger than the others. (I’d say
16.) Innocent, idealistic. Falls in love with Tony at first sight. Singing and dancing – are musts.
Featured in a portion of the Dance at the Gym, the dreamy part with Tony. Songs are a challenge. Acting – from frivolous, whimsical comedy to deeply tragic drama.
Anita
– mezzo
– Maria’s older friend, Bernardo’s lover. Yep, singing has to happen. And, oh yes, she is the most amazing dancer !! “America” is her big number, but also sings with Maria.
Fiesty, passionate, talented…this part is all 3 – singer/dancer/actor. Strength of character in all areas.
Consuelo – Anita’s best friend. A few individual lines. Pepe’s girlfriend. A clear presence in dancing and acting and singing. Similar to Anita in temperament. A sense of humor. A sense of family and identity, and belonging to the gang.
Action – hot-head – angry – loses temper over any little thing. Dancer, yes. Physical fighter, yes. Singer with the gang, some solo lines. Very specific personality.
A-Rab – silly guy – sense of humor – quick to react, ready to fight. Dancer, fighter, singer.
Diesel – big guy – humorous – observant – not the “nervous” type. Dancer, fighter, singer.
Baby John
–
youngest
– reluctant to just jump into a “war” every day – reads comic books –
Needs his gang as his family and will be true. Dancer, fighter, singer.

13
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).
[63]
Ramin, Kostal, and Bernstein are billed as orchestrators for the show.
The licensed orchestration is as follows
[64]
:
7 Violins
4 Celli1 Guitar (Classical/Electric/Mandolin)
1 Bass
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)
3 Trumpets
2 Trombones(2nd doubling Trumpet in D)
2 French Horns
4 Percussion (Traps, 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, Timpani)
1 Piano/Celesta
1. Get a CD of the original Broadway version. Listen to it a lot!!
2. Secure copies of audition music from Ms. Mascari – available the week of Jan. 9. Come to my office during that week, FLEX times, or immediately after school. Your cutting will not be very long.
3. Practice. Play along with the CD, if possible. You will present this piece at auditions.
4. Be prepared to sight read some music at auditions, perhaps you will play together in groups, also.
5. Prepare a listing of all conflicts with rehearsals. Your conductor will present you with the needs regarding attendance and practice. Right now, the traditional SATURDAY rehearsal time looks like it will apply, though it may be later in the day.

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Traditionally, full orchestra performs with the cast the week prior to opening, which currently consists of 2 rehearsal times (see the schedule). I would like a complete sing through with the cast on SATURDAY, April 14. Time may be the same as orchestra rehearsal time, or we can schedule it later in the day. So, HEADS UP, EVERYONE, regarding the time for this extremely important rehearsal.
Your music director/conductor will indicate your arrival times during the TECH WEEK rehearsals, as well as your arrival time during the show nights, your dress requirements during shows, etc.
MONOLOGUES FOR “COMPANY” and “ADULT” ROLES
COMPANY – Male or Female, Jet or Shark
( Setting – after the Rumble where Bernardo killed Riff, and then Tony killed Bernardo. Kids from each gang have scattered everywhere. You are in a group of 3 or 4 kids, in an alleyway, anxiously waiting for more friends and deciding what to do. To illustrate the location of people you are talking to, just focus ¼ Right or ¼ Left, and don’t forget to focus full front, too; talking with someone just in front of you, if you need to have that motivation.) (Please follow the stage directions I indicate; add more if you wish.)
MALES
“ Did you know this would happen - ??! (pointing) Did you??! (to another) You? (sits or collapses, from fear, horror) I didn’t. (crying this) This is not the way it’s supposed to be ! (a few beats) Did you see their faces? Riff and Bernardo?
But I couldn’t stop it. None of it!! I just kept hitting and kicking and then I heard the sirens, and , and…I…Oh, God!!
FEMALES
(a beat)
(beat – use your breathing)
“ Did you know this would happen - ??! from fear, horror) I didn’t. see his face? Riff’s?
emotional rise here)
(crying this)
I saw.
What now? What do we do now??
(pointing)
(begin an emotional rise here)
Did you??! (to another) You?
This is not the way it’s supposed to be !
(for Jet girl auditioning. Use Bernardo’s name if a Shark girl.)
I was right there.
(sits or collapses,
(a few beats) Did you
(a beat) (begin an
You were right there! Weren’t you?! Couldn’t you stop any of it!!? None of it!!? Oh, God!! (beat – use your breathing) What now? What do we do now??
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LIEUTENANT SCHRANK
(Setting – on the playground – after breaking up the opening fights. The Sharks and Jets have separated into their 2 groups. Schrank stands in the middle, Jets on Right, Sharks on Left. Try not to turn profile too much. Just ¼ right or ¼ left.)
“All right, who started this! Who?!! forward)
(waits for a second..gets nothing) don’t want to see these Puerto Rican grease balls put in their place?
Oh, I get it. You guys hate each others guts, but you’re not gonna rat on each other, huh? How damn noble of ya!! So, Riff, you
(the PR’s stiffen and take steps
Oh, I’m so sorry, Bernardo, did I hurt your feelins’? I gotta watch what I say, ya know…I see how delicate your situation is around here! Maybe you’d like conditions downtown in the slammer! Yeah? How about that??! (turns to Action, Jet side) Or you, Action? You could share a cell with your momma! (Action jumps towards him, but is held back) Oohhh! Bad topic, huh! Beg your friggin’ pardon!! All right…I’ll get to all of you soon enough. You ain’t gonna cause more trouble in my territory!!”

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GLAD HAND
(Setting – in the gym – at the dance – trying to get the two warring sides to warm up and try to have fun. The two gangs are in their groups, Sharks on R, on Jets on L. Only use ¼ body positions to turn to the groups as you talk.)
“Come on, everyone!!! Let’s all try to get into our circle for the next dance!! You know which one I mean! (steps forward and indicates where kids are to go) Here we go!! (no one moves) Aw, come on, Riff…you and Graziella…start us out! (nothing) Well…someone needs to rise above all this, ya know! Ha, ha! (he laughs nervously) Well, whose gonna lead the way? (claps his hands together to usher kids out onto the floor) I’d do it!! You know I would…but I can’t dance!! (laughs again…but gets nothing from the kids) You don’t want to see these dances cancelled, do you? Just because you can’t get along…you can’t have fun together ? (beat) (last ditch effort) Look, kids, what would it hurt to try? Huh? What would it hurt? (Bernardo and Anita move into place.) Ahh! There we go!!”
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OFFICER KRUPKE
(Setting – outside Doc’s Soda Shop, on the sidewalk – he accosts some of the Jets, girls and boys, as he is trying to find kids who were at the Rumble.)
“Now, look, you guys…I know you know somethin’!! I’m not stupid!! (someone laughs) Who was that? Who laughed? (looking around – then threateningly) Well, we got a little surprise for all of ya’s. (he yells) Yer not getting away with this!!! And if ya think ya are…you gotta another one coming!! (one kid breaks off and runs away, to the Right, and he follows a few steps) Yeah! You better run…but we’ll getcha! (turns back to others and walks slowly back) You think you can kill someone and the law won’t find you? (beat) What a bunch of dumb A’s! You better stick close to each other…cause Schrank and me, we got you covered. We got you under our thumbs. So...ya all just have a good night…but I don’t think yer gonna get much sleep now, are ya?”
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DOC
(Setting – in Doc’s drug store. He confronts Tony about his part in the Rumble and that he has heard that
Maria is dead. Focus on Tony full front, not to the side.)
“( yelling) How can I get through to you?? Can’t you hear me? (a beat – regroups) Listen, Tony…you know you are like a son to me. You’ve worked so hard…here…and trying to get your life together…to make a future. (stops, so much emotion) But…it’s all over. Don’t you see? You killed it when you killed Bernardo. (emotional, pleading) Why do you have to kill? (a beat) Tony…my boy… (a beat)
Maria’s dead. (quickly)
She’ll never meet you.”
I know, I know…she was to meet you here. But…she won’t meet you, Tony.
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Questions? Ms Michele Mascari – 515-761-7600, ext. 585
Email – mmascari@stxavier.org
CREWS AND MENTORS
Stage and Building Crew – Mr. Tom Cline
Properties Crew – Mrs. Kathy Barrow, Mrs. Barb Greivenkamp
Lighting/Sound Crew – Mr. Doug Haman, Mr. Tom Cline
Costume/Makeup Crew – Mrs. Nancy McDonough
Mrs. Kathy Spencer, Mrs. Pat Hinkley
Production Crew – Mrs. Tricia DiTullio
Mrs. Leslie Korbee – Organization, Green Room mom
Cappies Critics – Lead Critic, Alex Evans – Critics Mentor – Mrs. Barb Greivenkamp
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