Musique

West Side Story: A Musical.

1958 · 148050 — New York: Random House 1958. First edition of this classic musical. Octavo original half cloth. Boldly signed by Arthur Laurents Leonard Bernstein on the half-title page and inscribed by Stephen Sondheim on the front free endpaper. Review copy with the slip laid in fine in a very good dust jacket. Housed in a custom half morocco clamshell box by the Harcourt Bindery. Rare and desirable signed by these three contributors. In 1947 Jerome Robbins approached Leonard Bernstein and Arthur Laurents about collaborating on a contemporary musical adaptation of Romeo and Juliet. He proposed that the plot focus on the conflict between an Irish Catholic family and a Jewish family living on the Lower East Side of Manhattan during the Easter–Passover season. The girl has survived the Holocaust and emigrated from Israel; the conflict was to be centered around anti-Semitism of the Catholic "Jets" towards the Jewish "Emeralds" a name that made its way into the script as a reference. Eager to write his first musical Laurents immediately agreed. Bernstein wanted to present the material in operatic form but Robbins and Laurents resisted the suggestion. They described the project as "lyric theater" and Laurents wrote a first draft he called East Side Story. Only after he completed it did the group realize it was little more than a musicalization of themes that had already been covered in plays like Abie's Irish Rose. When he opted to drop out the three men went their separate ways and the piece was shelved for almost five years. In 1955 theatrical producer Martin Gabel was working on a stage adaptation of the James M. Cain novel Serenade about an opera singer who comes to the realization he is homosexual and he invited Laurents to write the book. Laurents accepted and suggested Bernstein and Robbins join the creative team. Robbins felt if the three were going to join forces they should return to East Side Story and Bernstein agreed. Laurents however was committed to Gabel who introduced him to the young composer/lyricist Stephen Sondheim. Sondheim auditioned by playing the score for Saturday Night his musical that was scheduled to open in the fall. Laurents liked the lyrics but was not impressed with the music. Sondheim did not care for Laurents' opinion. Serenade ultimately was shelved. Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner. While in Hollywood he contacted Bernstein who was in town conducting at the Hollywood Bowl. The two met at The Beverly Hills Hotel and the conversation turned to juvenile delinquent gangs a fairly recent social phenomenon that had received major coverage on the front pages of the morning newspapers due to a Chicano turf war. Bernstein suggested they rework East Side Story and set it in Los Angeles but Laurents felt he was more familiar with Puerto Rican immigrants and Harlem than he was with Mexican Americans and Olvera Street. The two contacted Robbins who was enthusiastic about a musical with a Latin beat. He arrived in Hollywood to choreograph the dance sequences for The King and I and he and Laurents began developing the musical while working on their respective projects keeping in touch with Bernstein who had returned to New York. When the producer of The Painted Veil replaced Gardner with Eleanor Parker and asked Laurents to revise his script with her in mind he backed out of the film freeing him to devote all his time to the stage musical. West Side Story is set in the Upper West Side neighborhood in New York City in the mid 1950s an ethnic blue-collar neighborhood in the early 1960s much of the neighborhood was cleared in an urban renewal project for the Lincoln Center which changed the neighborhood's character. 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 gang. The young protagonist Tony a former member of the Jets and best friend of the gang's leader Riff 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 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 six Tony Awards including Best Musical in 1957 but the award for Best Musical went to Meredith Willson's The Music Man. Robbins won the Tony Award for his choreography and Oliver Smith won for his scenic designs. The show had an even longer-running London production a number of revivals and international productions. A 1961 musical film of the same name directed by Robert Wise and Robbins starred Natalie Wood Richard Beymer Rita Moreno George Chakiris and Russ Tamblyn. The film was nominated for eleven Academy Awards and won ten including George Chakiris for Supporting Actor Rita Moreno for Supporting Actress and Best Picture. Random House hardcover