West side story




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WEST SIDE STORY

WEST SIDE STORY was first presented by Robert E. Griffith and

Harold S. Prince, by arrangement with Roger L. Stevens, at the

Winter Garden, New York City, September 26, 1957, with the

following cast:

THE JETS


RIFF, the leader-Mickey Calin

TONY, his friend-Larry Kert

ACTION-Eddie Roll

A-RAB-Tony Mordente

BABY JOHN-David Winters

SNOWBOY-Grover Dale

BIG DEAL-Martin Charnin

DIESEL-Hank Brunjes

GEE-TAR-Tommy Abbott

MOUTHPIECE-Frank Green

TIGER-Lowell Harris

THEIR GIRLS

GRAZIELLA-Wilma Curley

VELMA-Carole D'Andrea

MINNIE-Nanette Rosen

CLARICE-Marilyn D'Honau

PAULINE-Julie Oser

ANYBODYS-Lee Becker

THE SHARKS

BERNARDO, the leader-Ken Le Roy

MARIA, his sister-Carol Lawrence

ANITA, his girl-Chita Rivera

CHINO, his friend-Jamie Sanchez

PEPE-George Marcy

INDIO-Noel Schwartz

LUIS-Al De Sio

ANXOIUS-Gene Gavin

NIBBLES-Ronnie Lee

JUANO-Jay Norman

TORO-Erne Castaldo

MOOSE-Jack Murray

THEIR GIRLS

ROSALIA-Marilyn Cooper

CONSUELO-Reri Grist

TERESITA-Carmen Guiterrez

FRANCISCA-Elizabeth Taylor

ESTELLA-Lynn Ross

MARGARITA-Liane Plane

THE ADULTS

DOC-Art Smith

SCHRANK-Arch Johnson

KRUPKE-William Bramley

GLAD HAND-John Harkins

ACT ONE


PROLOGUE: THE MONTHS BEFORE

5:00 P.M., The Street

5:30 P.M., A Back Yard

6:00 P.M., A Bridal Shop

10:00 P.M., The Gym

11:00 P.M., A Back Alley

MIDNIGHT, The Drugstore

THE NEXT DAY

9:15 P.M., The Bridal Shop

6:00 to 9:00 P.M., The Neighborhood

9:00 P.M., Under the Highway

ACT TWO


9:15 P.M., A Bedroom

10:00 P.M., Another Alley

11:30 P.M., The Bedroom

11:40 P.M., The Drugstore

11:50 P.M., The Cellar

MIDNIGHT, The Street

MUSICAL NUMBERS

ACT ONE


PROLOGUE, Danced by the Jets and Shark

JET SONG, Riff and Jets

SOMEHING'S COMING, Tony

THE DANCE AT THE GYM

MARIA, Tony

TONIGHT, Tony and Maria

AMERICA, Anita, Rosalia, and Shark Girls

COOL, Riff and the Jets

ONE HAND, ONE HEART, Tony and Maria

TONIGHT (Quintet and Chorus), Company

THE RUMBLE, Riff, Bernardo, Jets and Sharks

ACT TWO


I FEEL PRETTY, Maria, Rosalia, Teresita, Francisca

SOMEWHERE, Danced by Company; Sung by Consuelo

GEE, OFFICER KRUPKE, Action, Snowboy, and Jets

A BOY LIKE THAT, Anita and Maria

I HAVE A LOVE, Anita and Maria

TAUNTING, Anita and the Jets

FINALE, Company

ACT I


SCENE ONE

5:00 P.M. The Street.

A suggestion of city streets and alleyways: a brick wall.

The opening is musical: half-danced, half-mimed, with

occasional phrases of dialogue. It is primarily a condensation of

the growing rivalry between two teen-age games, the Jets and the

Sharks, each of which has its own prideful uniform. The boys -

sideburned, long-haired- are vital, restless, sardonic; the

Sharks are Puerto Ricans, the Jets an anthology of what is called

"American."

The action begins with the Jets in possession of the are:

owning, enjoying, loving their "home." Their leader is Riff:

glowing, driving, intelligent, slightly wacky. His lieutenant is

Deisel: big, slow, steady, nice. The youngest member of the gang

is Baby John: awed at everything including that he is a Jet,

trying to act the big man. His buddy is A-rab: an explosive

little ferret who enjoys everything and understands the

seriousness of nothing. The most aggressive is Action: a catlike

ball of fury. We will get to know these boys better later, as

well as Snowboy: a bespectacled self-styled expert.

The first interruption of the Jets' sunny mood is the

sharply punctuated entrance of the leader of the Sharks,

Bernardo: handsome proud, fluid, a chip on his sardonic shoulder.

The Jets, by far in the majority, flick him off. He returns with

other Sharks: they, too, are flicked off. But the numerical

supremacy, the strength of the Jets, is gradually being

threatened. The beginnings of warfare are mild at first: a boy

being tripped up, or being sandbagged with a flour sack or even

being spit on -all with overly elaborate apologies.

Finally, A-rab comes across the suddenly deserted area,

pretending to be an airplane. There is no sound as he zooms along

in fancied flight. Then over the wall drops Bernardo. Another

Shark, another and another appear, blocking A-rab's panicky

efforts at escape. They close in, grab him, pummel him, as a

Shark on top of the wall is stationed as lookout. Finally,

Bernardo bends over A-rab and makes a gesture (piercing his ear);

the lookout whistles; Jets tear on, Sharks tear on, and a free-

for-all breaks out. Riff goes at once to A-rab, like a protective

father. The fight is stopped by a police whistle, louder and

louder, and the arrival of a big goonlike cop, Krupke, and a

plainclothesman, Schrank. Schrank is strong, always in command;

he has a charming, pleasant manner, which he often employs to

cover his venom and his fear.

KRUPKE


Knock it off! Settle down.

SCHRANK


All right: Kill each other! ...But not on my beat.

RIFF [such innocence]

Why if it isn't Lieutenant Schrank.

SEVERAL JETS [dancing class manners]

To of the day, Lieutenant Schrank.

BERNARDO [one with Riff]

And Officer Krupke!

SEVERAL SHARKS

Top of the day, Officer Krupke.

SCHRANK


Boy, what you Puerto Ricans have done to this neighborhood. Which

one of 'em clobbered ya, A-rab?

[A-rab looks to Riff, who takes over with great helpful

seriousness.]

RIFF

As a matter of factuality, sir, we suspicion the job was done by



a cop.

SNOWBOY


Two cops.

A-RAB


Oh, at least!

KRUPKE


Impossible!

SCHRANK


Didn't nobody tell ya there's a difference between bein' a stool

pigeon and cooperatin' with the law?

RIFF

You told us the difference, sir. And we all chipped in for a



prize for the first guy who can figure it out.

ACTION [indicating Schrank]

Maybe buddy boy should get the prize.

SCHRANK


Don't buddy me, Action! I got a hot surprise for you: you

hoodlums don't own the streets. There's been too much raiding

between you and the PRs. All right, Bernardo, get your trash outa

here. [Mock Charm.] Please.

BERNARDO

Let's go, Sharks. [They

exit.]

SCHRANK [to Jets]



If I don't put down the roughhouse, I get put down -on a traffic

corner. Your friends don't like traffic corners. So you buddy

boys are gonna play ball with me. I gotta put up with them and so

do you. You're gonna make nice with them PRs from now on. Because

otherwise I'm gonna beat the crap outa every one of ya and then

run ya in. Say good-bye to the nice boys, Krupke.

KRUPKE

Good-bye, boys. [He follows



Schrank out.]

SNOWBOY [imitating Krupke]

Good-bye, boys.

A-RAB


They make a very nice couple.

ACTION [bitterly]

You hoodlums don't own the streets.

SNOWBOY


Go play in the park!

ACTION


Keep off the grass!

BABY JOHN

Get outa the house!

ACTION


Keep off the block!

A-RAB


Get outa here!

ACTION


Keep off the world! A gang that down own a street is nuthin'!

RIFF


WE DO OWN IT! Jets -square off! Acemen: [Diesel, Action and

Snowboy line up at attention] Rocketmen: [three others line up]

Rank-and-file:

[Sheepishly, A-rab trudges into position, Baby John behind

him.]

BABY JOHN [shocked, to A-rab]



Gee, your ear's got blood on it!

A-RAB [proudly]

I'm a casual, Baby John.

BABY JOHN [examining the ear]

Them PRs! They branded you!

SNOWBOY


That makes you a Puerto Rican tomato. Cha-cha-cha, señorita?

RIFF


Cut the frabbajabba. Which one of the Sharks did it?

A-RAB


Bernardo. 'Cause I heard him say: "Thees ees for stink-bombin' my

old man's store." [He makes the same gesture Bernardo made when

he pierced his ear.]

BABY JOHN

Ouch!

ACTION


You shoulda done worse. Them PRs're the reason my old man's gone

bust.


RIFF

Who says?

ACTION

My old man says.



BABY JOHN [to A-rab]

My old man says his old man woulda gone bust anyway.

ACTION

Your old man says that?



BABY JOHN

My old man says them Puerto Ricans is ruinin' free ennaprise.

ACTION

And what're we doin' about it?



[Pushing through the game comes a scrawny teen-age girl, dressed

in an outfit that is a pathetic attempt to imitate that of the

Jets. Perhaps we have glimpsed her in the fracas before the

police am e in. Her name is Anybodys.]

ANYBODYS

Gassin', crabbin'-

ACTION

You still around?



ANYBODYS

Listen I was a smash in that fight. Oh, Riff, Riff, I was murder!

RIFF

Come on, Anybodys-



ANYBODYS

Riff, how about me getting' in the gang now?

A-RAB

How about the gang gettin' in -ahhh, who'd wanta!



ANYBODYS

You cheap beast! [She lunges for A-rab, but Riff pulls her off

and pushes her out.]

RIFF


The road, little lady, the road. [In a moment of bravado, just

before she goes, Anybodys spits-but cautiously.] Round out! [This

is Riff's summoning of the gang, and they surround him.] We

fought hard for this territory and it's ours. But with those cops

servin' as cover, the PRs can move in right under our noses and

take it away. Unless we speed fast and clean 'em up in one all-

out fight!

ACTION [eagerly]

A rumble! [A jabbing gesture.] Chung! Chung!

RIFF


Cool, Action boy. The Sharks want a place, too, and they are

tough. They might ask for bottles of knives or zip guns.

BABY JOHN

Zip guys... Gee!

RIFF

I'm not finalizin' and sayin' they will: I'm only sayin' they



might and we gotta be prepared. Now what's your mood?

ACTION


I say go, go!!

SNOWBOY


But if they say knives or guns-

BABY JOHN

I say let's forget the whole thing.

DIESEL


What do you say, Riff?

RIFF


I say this turf is small, but it's all we got. I wanna hold it

like we always held it: with skin! But if they say switchblades,

I'll get a switchblade. I say I want the Jets to be Number One,

to sail, to hold the sky!

DIESEL

Then rev us off. [A punching gesture.] Voom-va voom!



ACTION

Chung chung!

A-RAB

Cracko, jacko!



SNOWBOY

Riga diga dum!

BABY JOHN

Pam pam!!

RIFF

OK, buddy boys, we rumble! [General glee.] Now protocality calls



for a war council to decide on weapons. I'll make the challenge

to Bernardo.

SNOWBOY

You gotta take a lieutenant.



ACTION

That's me!

RIFF

That's Tony.



ACTION

Who need Tony?

Music starts.

RIFF


Against the Sharks we need every man we got.

ACTION


Tony don't belong any more.

RIFF


Cut it, Action boy. I and Tony started the Jets.

ACTION


Well, he acts like he don't wanna belong.

BABY JOHN

Who wouldn't wanna belong to the Jets!

ACTION


Tony ain't been with us for over a month.

SNOWBOY


What about the day we clobbered the Emeralds?

A-RAB


Which we couldn't have done without Tony.

BABY JOHN

He saved my ever lovin' neck.

RIFF


Right. He's always come through for us and he will now.

[He sings:]

When you're a Jet,

You're a Jet all the way

From your first cigarette

To your last dyin' day.

When you're a Jet,

If the spit hits the fan,

You got brothers around,

You're a family man!

You're never alone,

You're never disconnected!

You're home with your own:

When company's expected,

You're well protected!

Then you are set

With a capital J,

Which you'll never forget

Till they cart you away.

When you're a Jet,

You stay

A Jet!


[He speaks:]

I know Tony like I know. I guarantee you can count him in.

ACTION

In, out, let's get crackin'.



A-RAB

Where you gonna find Bernardo?

RIFF

At the dance tonight at the gym.



BIG DEAL

But the gym's neutral territory.

RIFF [sweet innocence]

I'm gonna make nice there! I'm only gonna challenge him.

RIFF

Great, Daddy-O!



A-RAB

So everybody dress up sweet and sharp. Meet Tony and me at them.

And walk tall!

[He runs off.]

A-RAB

We always talk tall!



BABY JOHN

We're Jets!

ACTION

The greatest!



[He sings with Baby John:]

When you're a Jet,

You're the top cat in town,

You're the gold-metal kid

With the heavyweight crown!

[A-rab,


Action, Big Deal sings:]

When you're a Jet,

You're the swingin'est thing.

Little boy, you're a man;

Little man, you're a king!

[All:]


The Jets are in gear,

Our cylinders are clickin'!

The Sharks'll steer clear

'Cause ev'ry Puerto Rican

'S a lousy chicken!

Here come the Jets

Like a bat out of hell-

Someone gets in our way,

Someone don't feel so well.

Here come the Jets:

Little world, step aside!

Better go underground,

Better run, better hide.

We're drawin' the line,

So keep your noses hidden!

We're hangin' a sign,

Says "Visitors forbidden"-

And we ain't kiddin'!

Here come the Jets,

Yeah! An' we're gonna beat

Ev'ry last buggin' gang

On the whole buggin' street!

[Diesel and Action.]

On the whole

[All:]

Ever-!


Mother-!

Lovin'-!


Street!

The Lights Black Out

SCENE TWO.

5:30 P.M. A back yard.

On a small ladder, a good-looking sandy-haired boy is

painting a vertical sign that will say: "Doc's." Below, Riff is

haranguing.

RIFF


Riga tiga tum tum. Why not? ...You can't say ya won't, Tony boy,

without sayin' why not?

RIFF

Because it's me askin': Riff. Womb to tomb!



TONY

Sperm to worm! [Surveying the sign.] You sure this looks like

skywritin'?

RIFF


It's brilliant.

TONY


Twenty-seven years the boss has had that drugstore. I wanna

surprise him with a new sign.

RIFF [shaking the ladder.]

Tony, this is important!

TONY

Very important: Acemen, Rocketmen.



RIFF

What's with you? Four and one-half year I live with a buddy and

his family. Four and one-half years I think I know a man's

character. Buddy boy, I am a victim of disappointment in you.

TONY

End your sufferin', little man. Why don't you pack up your gear



and clear out?

RIFF


'Cause your ma's hot for me. [Tony grabs his arms and twists it.]

No! 'Cause I hate livin' with my buggin' uncle uncle UNCLE!

[Tony releases him and climbs back up the ladder.]

TONY


Now go play nice with the Jets.

RIFF


The Jets are the greatest!

TONY


Were.

RIFF


Are. You found something' better?

TONY


No, But-

RIFF


But what?

TONY


You won't dig it.

RIFF


Try me.

TONY


OK... Every single damn night for the last month, I wake up-and

I'm reachin' out.

RIFF

For what?



TONY

I don't know. It's right outside the door, around the corner. But

it's comin'!

RIFF


What is? Tell me!

TONY


I don't know! It's-like the kick I use to get from bein' a Jet.

RIFF [quietly]

...Or from bein buddies.

TONY


We're still buddies.

RIFF


The kick comes from the people, buddy boy.

TONY


Yea, but not from a Jet.

RIFF


No? Without a gang you're an orphan. With a gang you walk in

two's three's four's. And when your gang is the best, when you're

a Jet, buddy boy, you're out in the sun and home free home!

TONY


Riff, I've had it. [Pause.]

RIFF


Tony, the trouble is large: The Sharks bite hard! We got to stop

them now, and we need you! [Pause. Quietly.] I never asked the

time of a day from a clock, but I'm askin' you: Come to the dance

tonight... [Tony turns away.] ...I already told the gang you'd be

there.

TONY [after a moment, turns to him with a grin]



What time?

RIFF


Ten?

TONY


Ten it is.

RIFF


Womb to tomb!

TONY


Sperm to worm! And I'll live to regret this.

RIFF


Who knows? Maybe what you're waitin' for'll be twitchin' at the

dance!


[He runs off.]

TONY


Who knows?

[Music starts and he sings:]

Could be!...

Who knows?...

There's something due any day;

I will know right away,

Soon as it shows.

It may come cannon-balling down thru the sky,

Gleam in its eye,

Bright as a rose!

Who knows?...

It's only just out of reach,

Down the block, on a beach,

Under a tree...

I got a feeling there's a miracle due,

Gonna come true,

Coming to me!

Could it be? Yes it could.

Something's coming, something good,

If I can wait!

Something's coming, I don't know what it is,

But it is

Gonna be great!

With a click, with a shock,

Phone'll jingle, door'll knock,

Open the latch!

Something's coming, don't know when but it's soon-

Catch the moon,

One-handed catch!

Around the corner,

Or whistling down the river,

Come on-deliver

To me!

Will it be? Yes, it will.



Maybe just by holding still,

It'll be there!

Come on something, come on in,

don't be shy,

Meet a guy,

Pull up a chair!

The air is humming,

And something great is coming!

Who knows?

It's only just out of reach,

Down the block, on a beach...

Maybe tonight...

The Lights Dim

SCENE THREE.

6:00 P.M. A bridal shop.

A small section, enough to include a table with sewing

machine, a chair or two. Anita, A Puerto Rican girl with loose

hair and slightly flashy clothes, is finishing remaking what was

a white communion dress into a party dress for an extremely

lovely, extremely young girl: Maria. Anita is knowing, a sexual,

sharp. Maria is an excited, enthusiastic, obedient child, with

the temper, stubborn strength and awareness of a woman.

MARIA [holding out scissors]

Por favor, Anita. Make the neck lower!

ANITA

Stop it, Maria.



MARIA

One inch. How much can one little inch do?

ANITA

Too much.



MARIA [exasperated]

Anita, it is now to be a dress of dancing, no longer for kneeling

in front of an altar.

ANITA


With those boys you can start in dancing and end up kneeling.

MARIA


Querida, one little inch; uno poca poca-

ANITA


Bernardo made me promise-

MARIA


Ai! Bernardo! One month have I been in this country-do I ever

even touch excitement? I sew all day, I sit all night. For what

did my fine brother bring me here?

ANITA


To marry Chino.

MARIA


When I look at Chino, nothing happens.

ANITA


What do you expect to happen?

MARIA


I don't know: something. What happens when you look at Bernardo?

ANITA


It's when I don't look at him that it happens.

MARIA


I think I will tell Mama and Papa about you and 'Nardo in the

balcony of the movies.

ANITA

I will rip this to shreds!



MARIA

No. But you perhaps could manage to lower the neck-

ANITA

Next year.



MARIA

Next year I will be married an no one will care if its down to

here!

ANITA


Down to where?

MARIA


Down to here. [Indicates her waist.] I hate this dress!

ANITA


Then don't wear it and don't come to the dance.

MARIA [shocked]

Don't come! [Grabs the dress.] Could we not dye it red, at least?

ANITA


No, we could not. [She starts to help Maria into the dress.]

MARIA


White is for babies. I will be the only one there in a white-

ANITA


Well???

MARIA


Ahhhh-sí! It is a beautiful dress: I love you!

[As she hugs Anita, Bernardo enters, followed by a shy, gentle

sweet-faced boy: Chino.]

BERNARDO


Are you ready?

MARIA


Come in, 'Nardo. [Whirls in the dress.] Is it not beautiful?

BERNARDO [looking only at Maria's face]

Yes. [Kisses her.] Very.

ANITA


I didn't quite hear...

BERNARDO [kissin Anita quite differently.]

Very beautiful.

MARIA


[watches them a second, then turns to Chino]

Come in, Chino. Do not be afraid.

CHINO

But this is a shop for ladies.



BERNARDO

Our ladies!

MARIA

'Nardo, it is most important that I have a wonderful time at the



dancing tonight.

BENARDO [as Anita hooks up Maria]

Why?

MARIA


Because tonight is the real beginning of my life as a young lady

of America!

[She begins to whirl in the dress as the shop slides off

and a flood of gaily colored streamers pours down. As Maria

begins to turn and turn, going off-stage. Sharks girls, dressed

for the dance whirl on, followed by Jet girls. By boys from both

gangs. The streamers fly up again for the next scene.]

SCENE FOUR.

10:00 P.M. The gym.

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