THIS is
Tony’s STORY
Tony’s death leaves a
legacy.
COMMANDING IMAGES for Design
One Hand One Heart
RISE ABOVE
Blood runs through
COMMANDING IMAGES for Characters
Jets: hover, circle, swoop, flip, ride in tandem, /rescue. Used for honorable services. Are wind blown
Engines.... Rev
Rockets / Turbo Jets
Subsonic, supersonic, transonic, hypersonic
We see this in the Jet song- jet formations, individual characterizations with revving, rocketing, propelling, holding idle, hovering, etc. add
speeds and levels too. We really see it in “cool” as each wants to fly, ignite, pop, explode…
Sharks: smell blood, circle, jump, scatter, bite, devour/ protect. Are slick and shiny. Sharks must keep moving in order to breathe and stay
afloat. Members of this species tend to bear young early. They are heavy fishes.
Dresses in “America” represent birds in flight symbolizing the girls promises if they picked up and flew to America. The dance should
allow for the use of the dresses to create flying birds.
SUPEROBJECTIVE
Will Tony overcome history?
THEME
At what point does the
American Dream
become a
nightmare
and at what cost.
INTERESTS
Will Tony and Maria hook up?
Who is going to die?
How will they die?
Last Moment of the show- all look up!-
(rise above)
NEW YORK’s East Harlem
1957
Puerto Rican Americans 1957
ApromiseoftheAmericanDream
Hope
Prosperity
Opportunity
Education
INITIAL MIGRATION
In 1948, the Migration Division of the Department of Labor of Puerto Rico opened its office
in New York City. Its mission was to mediate between the island and the New York/Puerto
Rican community, assuage the adjustment experience of new arrivals, and generally inform
them about jobs, housing and other critical concerns.
ESTABLISHING A HOME
It wasn't long before the Puerto Rican "Barrios" in
Spanish Harlem and Manhattan's Lower East Side
began to resemble "Little Puerto Ricos"
with their "Bodegas" (small grocery stores)
and ”Piragueros” (Puerto Rican shaved ice venders) in every corner.
It is estimated that from 1946 to 1950 there were 31,000 Puerto Rican migrants each year to New York.
BUILDING THE COMMUNITY
The third great wave of domestic migration from Puerto Rico came after World War II. Nearly 40,000
Puerto Ricans settled in New York City in 1946, and 58,500 in 1952–53.
Many soldiers who returned after World War II made use of the GI billl and went to college.
Puerto Rican women confronted economic exploitation, discrimination, racism, and
the insecurities inherent in the migration process on a daily basis, however they fared
better than did men in the job market.
The women left their
homes for the factories
in record numbers.
By 1953, Puerto Rican migration to New York reached its peak when 75,000 people left the island.
MAKING A LIVING
Operation Bootstrap ("Operación Manos a la Obra") is the name given to the ambitious
projects which industrialized Puerto Rico in the mid-20th century . The industry that was
attracted did not provide sufficient jobs. With increased population growth and
displacement from traditional labor pursuits, the growing population could not be
accommodated. Much of the surplus labor migrated to the United States.
In 1948 New York Mayor Robert F.
Wagner Jr. began a campaign to
recruit Puerto Rican laborers in the
island to work in the city's factories.
Mayor Wagner figured that the city
would benefit greatly by the luring of
what was considered to be "cheap
labor".
DISCRIMINATION
Discrimination was rampant in the United States and it was no different in New York.
There were signs in restaurants which read "No dogs or Puerto Ricans allowed".
The Puerto Rican Nationalist Party established an office in New York in the 1950s and attracted many
migrants. Leaders of the party conceived a plan that would involve an attack on the Blair House with
the intention of assassinating United States President Harry S. Truman and an attack on the House of
Representatives.
These events had a negative impact on the Puerto Rican migrants. Americans viewed Puerto Ricans as
anti-Americans and the discrimination against them became even more widespread.
FEAR and SURVIVAL
Many Puerto Ricans were able to overcome these obstacles and became respected
members of their communities. Many such as Antonia Pantoja, established
organizations such as "ASPIRA", that helped their fellow countrymen to reach their
goals.
The first New York Puerto Rican Day Parade was held on Sunday, April 12, 1958 in the
"Barrio" in Manhattan.
Therefore, I believe our story takes place in the
summer of 1957
with hope that the events of this story will change the course of history.
New Yorkers 1957
Even though they didn’t spend all their time in wild, free-for-all rumbles, violence
was a part of the gang life and homicides took place with frequent regularity as the
1950s marched along.
In the 1950s New York City
experienced massive ethnic changes
that transformed entire neighborhoods
from one ethnic enclave to a totally
new one, sometimes within a
decade. These ethnic transformations
did not come without growing pains,
however. Residents who had been
living in these transformative
neighborhoods for their entire lives
were
resistant
to
these
newcomers. Most of the new residents
were Blacks from the Deep South and
Puerto Ricans emigrating from Puerto
Rico doing their best to achieve the
Great American Dream.
East Harlem was one of these neighborhoods that experienced an influx
of newcomers. Predominantly Italian since the 1930s, East Harlem was
once known as Italian Harlem. Thousands of Italians made their cultural
mark and settled east of Lexington between 96th and 116thand other
areas. However, by the 1950s, this was rapidly changing.
Large chunks of East Harlem were
razed to make way for public
housing such as the Jefferson
Houses. These housing projects
did much to displace Italian
identity and dislocated large
swathes of Italians who were
forced to find new homes away
from East Harlem. The residents
that moved into the public housing
were generally low-income and
with few programs available, a
sense of community for them was
lacking.
Although some Italians moved into the housing projects, it was generally Puerto Ricans who moved into East
Harlem, eager to make a new start. With fresh memories of friends and family being forced to move away,
Italians were not pleased about their new neighbors. Predictably, a collision of cultures transpired. Italian youth
resented outsiders and prevented Puerto Ricans and Blacks from using the pool at Jefferson Park. Puerto Rican
youth struggled to adjust to a school system alien to them and did their best to learn English. They attempted to
learn the customs of New York City, while retaining their culture. Puerto Rican youths, tired of being assaulted
on the streets, formed gangs like the Viceroys and Dragons to protect themselves.
Italian youth had their own gangs — the powerful Red Wings for example, who hung out in Jefferson
Park, doing their best to hold back the outsiders.
Throughout the 1950s, these East Harlem gangs battled each other, with fights and rumbles
sometimes ending in death for young victims, both gang and non-gang related. Seven Red Wings
were tried and convicted for this brutal murder and sent to prison. With killings like this, it was
obvious that East Harlem and city-wide youth gangs were hardly the almost idealistic gangs
represented in West Side Story. Murders such as this were very real and all too tragic.
Gangs like the Viceroys and Dragons that
inspired West Side Story are no longer
around. They have long since disappeared under
the weight of relentless time, a heroin epidemic
and persistent gang intervention from the New
York City Youth Board. All we have left are
their memories and the realization that turbulence
amongst youth in New York City in the 1950s
was an acute problem.
Italians, Irish, Polish, Russians,
Jewish, Chinese, Germans, etc.
Puerto Ricans
What do we all have in common?
What do we all have in common?
The Catholic Church
What do we all have in common?
The Catholic Church
Anita with rosary
Maria with cross necklace
Church bells at important moments
Catholic symbols for both sides although neither side recognizes the common ground.
Tony does, Maria does
Doc and Anita do- but can’t
COSTUMES
Maria- Cream and Burgandy and Rose
Tony- Cream and Burgandy and Charcoal
Bernardo- Black and Purple (passion)
Anita- Black and Purple (passion)
Action-Blood Orange
Riff- Blood Orange
Chino- Ash
Jets- Mint, Apricot, Coral, lemon, pear,
and other monochromatic variations of
this
Sharks- Rose, lilac, sky blue and other
monochromatic variations of this
SET DESIGN
SET NOTES:
STAGE LEFT- Much Higher than Stage Right.
Jets have soda shop "doc's
Down left from wings and just about 3 feet-Chain fence- but for park entry that extends out about 20 feet end
of show – some of it can come from up right to meet in center.
Tony's home
Stone stairs with slide like rails for “Officer Krumpke” that can roll out of Street scenes for The Dance “cool”
Inside Soda Shop.
STAGE RIGHT- Garden Terrace in highest point and lower than Jets highest point.
Sharks have sewing shop
A low garden Terrace
A balcony outside of Maria's room
For “America”- add matching railing on stage floor to connect with metal stairs and garden terrace- light well
and make the location a two story set.
Shop opens out from under the terrace
Balcony extends from terrace separated by a little brick and ledge allowing playful trek for Tony to get to it.
Both have multiple stair cases and landings
CENTER: The space between the two is "common". Catholic CHURCH- this could be a cream stone steeple with
bell. Does not need to take up much space and can appear to be way in the distance- but is the highest point
of the set.
Enter the gym from up center- drop in string lights or other décor and perhaps a baskets ball hoop and
backing with décor.
CONCEPTUAL SET NOTES:
Jets side is up high hovering over the street while the Sharks reside
low and hidden .
Jets have lots of open windows where you can see stories of all New
Yorkers - folks peer out over.
Sharks have a lot of closed doors and curtains -open only when safe to
come out.
Check color trends of the period with PR behind the trends
“Tonight” will showcase these openings with window stories.
Cream, burgundy, and charcoal grey run
through both sides- as it get closer to
center its is more intensely those three
with cream at the very center symbolizing
THE CATHOLIC CHURCH
through a structure like steeple with a bell.
The bell sounds at poignant moment in the show.
SET
Texture and depth is KEY- nothing should feel flat- our show is
stylized so that real moments with Tony and Maria really pop.
Brick and Cinderblock Textured
Buildings with color accents
Paint should look dripped on.
Brick and Cinderblock Textured Buildings with color accents going
Left to Right
Burgandy, blues, burgandy, purples,burgandy, cream, burgandy, greens, burgandy oranges, burgandy
Paint should look dripped on- like blood running through.
GRAPHIC DESIGN
TWO HANDS as one
holding a heart
with a light drip of blood
and hands raised high
Gender
Male
Male
Female
Female
Male
Male
Male
Female
Male
Male
Male
Male
Male
Male
Male
Female
Female
Male
Female
Female
Male
Male
Female
Male
Female
Part Size
Lead
Lead
Lead
Lead
Lead
Supporting
Supporting
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Featured
Ensemble
Ensemble
Ensemble
Ensemble
Vocal Part
Tenor
Tenor
Soprano
Mezzo-Soprano
Baritone
Spoken
Baritone
Spoken
Spoken
Spoken
Spoken
Baritone
Baritone
Baritone
Baritone
Mezzo-Soprano
Mezzo-Soprano
Baritone
Mezzo-Soprano
Mezzo-Soprano
Spoken
Various
Various
Various
Various
CHARACTERS
Name
Tony
Riff
Maria
Anita
Bernardo
Chino
Action
Anybodys
Detective Schrank
Doc
Officer Krupke
Diesel
Baby John
A-Rab
Snowboy
Velma
Graziella
Pepe
Consuelo
Rosalia
Glad Hand
Jets
Jets’ Girls
Sharks
Sharks Girls
Sharks
research by Catie Pool
Sharks
survive by always moving forward
The Sharks can’t move backwards in history,
they are always moving forward in an attempt
to catch up with society and the time. Like the
fish with poachers the sharks are in a place
where there is someone above, who isn’t
particularly fond of them.
Similar to actual sharks, the Puerto Rican
sharks are sleek.
The hairstyles for men were
slicked back and for women
put into a tight up-do.
Sharks are shiny.
The sharks mannerisms shine on their words and allow them
to be very expressive. Friends normally greet by kissing each
other. Animated conversation is a social asset.
Posture when standing or sitting is not perfect. Shoulders are
pushed forward some, when sitting women cross their ankles,
and faces/chins straight ahead rather than up.
Jets
research by Haley Kimbrough
Common
Ground
research by Hannah Hightshoe