West Side Story first premiered in 1957 at the Winter Garden Theatre in New York City. A wildly successful love story based on a Shakespearian classic, this controversial musical was brought to fruition by four brilliant artists: Stephen Sondhiem, Leonard Bernstien, Arthur Laurents, and last but not least, Jerome Robbins. It’s not often that the public is gifted a musical whose subject matter, direction, and choreography is still deeply felt in American society 62 years later. The theatre was a place for leisure and entertainment, not political and social commentary. West Side Story was one of the first musicals to hold up a mirror and reflect America’s longstanding values of racism, both systematic and confrontational, violence, discrimination, and what it meant to be an American in the 1950s. As the musical evolved over time, revival after revival, alterations to the lyrics and script became necessary, but the only element remaining true to its original form continues to be Jerome Robbins’ choreography.
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'Choreography as an Important Element Within West Side Story'
Similar to the legendary Bob Fosse, Jerome Robbins had an eye for recognizing authenticity and truthful storytelling onstage. Robbins was able to succesfully manifest realistic conflict through dance and partnering while still furthering the plot. The first time we encounter conflict through dance is during The Prologue, when the Jets provoke members of the Shark gang to assert their territorial, and racial, dominance. Robbins’ commitment to the context of the musical outside the rehearsal room resulted in extremely authentic performances, but not before allowing his dancers individual integrity over the movement. Nowhere is this more palpable than in the show’s kinetic, intense Prologue. In this specific number, Robbins combines elements of ballet, jazz and stage combat, highlighting the life or death intensity that engulfs each member of the two gangs, no matter the shade. Another time Robbins furthers the plot through dance is within the pivotal number 'Dance at the Gym.' This intricate musical number is where we first see both genders of the Sharks and the Jets confront each other's differences through dance, even as Tony and Maria first fall in love. To understand how teenagers related to one another through dance, Robbins visited a high school dance in a Puerto Rican neighbourhood of New York to gain inspiration and development for his choreography, demonstrating even more commitment to the show’s context. “Mambo!” Bernstein’s thrilling music illustrating “Dance at the Gym” gave Robbins the opportunity to display the sexual and athletic prowess of the rival gangs. Not only was Robbins’ choice of movement explosive and technical, but it was so specifically intentioned and colored with characterization that it resonated, and will continue to resonate with audiences for years to come.
The innovative element within West Side Story is enacted through its challenging choreography. Dance had been elevated to a new importance by being required to carry on much of the dramatic action in a way that had never been attempted on Broadway before, not to mention the heavy political themes. The intense stage material combined with the intentioned choreography is what made West Side Story a success that continues to be applicable to our current society and continuously revived.
