Geschichte von dem Musical "Westside Story".....
West Side Story
New Musical in 2 Akten. Buch von Arthur Laurents nach einer Idee von Jerome Robbins und nach Shakespeares Romeo and Juliet. Gesangstexte von Stephen Sondheim. Deutsch von Marcel Prawy. Broadway-Premiere am 26. September 1957 im Winter Garden Theatre, New York. Deutschsprachige Erstaufführung am 25. Februar 1968 an der Volksoper, Wien Personen: Die Jets: Tony (ehem. Jet), Riff (Anführer), Action, A-Rab, Baby John, Snowboy, Professor (Orig.: Big Deal), Diesel, Gee-Tar, Mouth Piece, Tiger – Ihre Mädchen:Graziella, Velma, Minnie, Clarice, Pauline, Anybodys. Die Sharks: Bernardo (Anführer), Chino, Pepe, Indio, Luis, Anxious, Nibbles, Juano, Toro, Moose - Ihre Mädchen: Maria, Bernardos Schwester, Anita, ihre Freundin, Rosalia, Consuelo, Teresita, Francisca, Estella, Marguerita. Die Erwachsenen: Doc, Drugstorebesitzer - Lt. Schrank, Polizeileutnant – Officer Krupke, Polizist - Glad Hand, Mitarbeiter des Jugendclubs.
Ort und Zeit: New York, in den 1950er Jahren.
1. Akt. (Ouvertüre.) Zum Auftakt wird in einem getanzten Prolog die aufgestaute Spannung zwischen zwei Straßenbanden aufgezeigt: den Jets, die sich als Amerikaner betrachten, weil sie schon in den Staaten geboren wurden, und den Sharks, einer Gruppe von eingewanderten Puertorikanern (Orchester: Prologue / Prolog). Der Anführer der Jets, Riff, schwört, daß er die von Bernardo angeführten Sharks aus »ihren« Straßen jagen werde (Riff, Jets:Jet Song). Riff entschließt sich, Bernardo noch diesen Abend beim Tanzfest zum Kampf zu fordern und bittet seinen alten Freund und Mitbegründer der Jets, Tony, ihm dabei zu helfen. Tony ist der Bande inzwischen ein bißchen entwachsen, sagt aber trotzdem zu (Tony: Something‘s Coming / Wer weiß). Bernardo, befreundet mit Anita, hat für seine Schwester Maria den Puertorikaner Chino auserkoren; alle gehen zum Tanz (Orchester: The Dance At The Gym / Die Turnhalle). Maria trifft dort Tony - es ist Liebe auf den ersten Blick. Bernardo gibt den beiden sofort zu verstehen, daß sie feindlichen Lagern angehören. Riff fordert Bernardo auf, sich in einer halben Stunde im Drugstore zu treffen, um Kampfplatz und Waffenart zu bestimmen. Auf der Suche nach Marias Wohnung, allein auf der Straße, gibt Tony seinen Empfindungen Ausdruck (Tony: Maria). Er findet sie, klettert über die Feuerleiter, und auf dem Balkon schwören sie sich ewige Liebe (Tony, Maria: Balcony Scene - Tonight / Balkonszene - Heut‘ nacht). Die Sharks bringen ihre Mädchen nach Hause; dabei ergeben sich lustige Streitgespräche zwischen Bernardo und Anita über Aufgaben und Stellung der Frauen und Vergleiche zwischen Amerika und Puerto Rico - er pro Puerto Rico, sie pro Amerika (Anita, Mädchen der Sharks: America). Im Drugstore hält Doc, der Besitzer des Lokals, den Jets eine Standpauke. Die aber denken nur an Streit; Riff mahnt sie, kühl zu bleiben (Riff, Jets: Cool / Kühl). Bernardo erscheint mit seiner Bande. Nach einer leidenschaftlichen Diskussion beschimpft Tony sie alle als Feiglinge, da sie nicht den Mut aufbrächten, sich im Zweikampf mit bloßen Händen zu stellen. Einer von jeder Bande solle die Ehre aller vertreten, in der nächsten Nacht, an einem Treffpunkt unter dem Highway. Am Nachmittag des darauffolgenden Tages besucht Tony Maria in der Schneiderei eines Konfektionshauses für Brautkleider, in der sie arbeitet. Maria fleht Tony an, den Kampf zu verhindern. Tony gibt ihr das Versprechen; er will anschließend zurückkommen, um Maria seiner Mutter vorzustellen. Mit Kleiderpuppen mimen sie die erste Begegnung mit den Schwiegereltern und die Heiratszeremonie (Tony, Maria: One Hand, One Heart / Eine Hand, ein Herz). In der Dämmerung malt sich jeder den kommenden Kampf aus; dazwischen klingt das Liebesduett von Tony und Maria (Maria, Tony, Anita, Jets, Sharks: Quintet - Tonight / Quintett - Heut‘ nacht). Unter dem Highway treffen sich die Banden. Doch bevor der Kampf beginnt, tritt Tony dazwischen. Bernardo, schon darüber zornig, daß dieser Jet sich für seine Schwester Interessiert, stößt ihn zurück. Riff und Bernardo drohen sich mit Messern, und im Verlauf eines wilden Duelis wird Riff von Bernardo erstochen (Orchester: The Rum/Je / Der Kampf). Tony, blind vor Zorn und Rachlust, tötet Bernardo. Die Pfiffe und Sirenen der anrückenden Polizei beenden die Schlacht. Tony, allein bei Riffs und Bernardos leblosen Körpern, wird von Anybodys auf seine gefährliche Situation aufmerksam gemacht und kann der Polizei knapp entkommen.
2. Akt. (Entr‘acte.) Maria schmückt sich für das Treffen mit Tony (Maria, Rosalia, Consuelo, Teresita: I Feel Pretty / Weil ich nett bin). Da stürzt Chino herein und versucht, über den Kampf zu berichten. »Was ist mit Tony?« fragt Maria. - »Er hat deinen Bruder getötet«, schreit Chino und rennt weg. Über die Feuerleiter klettert Tony zu Maria ins Zimmer. Verzweifelt halten sich beide in den Armen, sie sehnen sich an einen Ort ohne Haß und Vorurteile, glücklich und frei. In einem Traumballett wird die Welt ihrer Hoffnung, dann der Alptraum des Messerkampfes dargestellt (Orchester, eine Stimme, Tony, Maria: Balletsequence - Scherzo - Somewbere - Procession - Nightmare / Ballettsequenz - Scherzo - irgendwo - Prozession - Alptraum). In den Straßen und Hinterhöfen macht die Polizei Jagd auf Mitglieder der beiden Banden. Die Jets erzählen in einem gespielten Verhör, mit welchen Argumenten man der Justiz, dem Psychiater und der Jugendpflegcrin entkommen könne (Jets: Gee, Officer Krupke / Hey, Inspektor Krupke). In Marias Zimmer werden Tony und Maria von Anita überrascht. Tony gelingt es, aus dem Fenster zu fliehen; er verabredet sich mit Maria im Drugstore. Anita schimpft auf Maria ein, weil sie noch immer mit dem Mörder ihres Bruders verkehrt; aber Maria beteuert ihre Liebe - Anita auch (Anita, Maria: A Boy Like That / Ein Kerl wie der; 1 Have A Love / Lieb hab ich ihn).
"Chino hat einen Revolver", gesteht Anita, als Polizeileutnant Schrank an die Türe klopft, um Maria auszufragen. Auf Marias Bitte hin, für ihre angeblichen Kopfschmerzen Tabletten zu holen, geht Anita in den Drugstore, um Tony vor China zu warnen. Dort bereiten ihr die Jets einen üblen Empfang und verraten ihr nicht, daß sich Tony im Keller versteckt hält (Orchester: Taunting Scene / Die Vergewaltigung). Verletzt und gedemütigt verfälscht sie die Botschaft und läßt Tony über Doc ausrichten, China habe Maria erschossen. Tony irrt rasend vor Schmerz durch die Straßen, laut nach Chino rufend. Plötzlich sieht er Maria auf sich zukommen. Er stürzt ihr entgegen, da taucht Chino auf und erschießt ihn. Maria richtet voll Schmerz, Zorn und wilder Verzweiflung einen Appell an die beiden zusammengelaufenen Banden gegen die Sinnlosigkeit des Kämpfens und Mordens. Gemeinsam tragen Sharks und Jets Tonys leblosen Körper weg, sie bilden eine Prozession, die, unterstützt durch die Verwendung der ersten Phrase der Melodie von Somewhere / Irgendwo, eine Versöhnung andeutet (Orchester: Finale - Procession). (Reclams UB Nr. 9212, englisch.) »West Side Story«, eines der größten Werke des amerikanischen Musiktheaters, ist bereits im Jahre 1949 von Robbins und Bernstein begonnen worden, als neue Version des Romeo-und-Julia-Themas, damals noch mit der Story von einem jüdischen Mädchen und einem katholischen Jungen. Die Schwierigkeiten und Gegensätze zwischen den eingewanderten Puertorikanern und den Einheimischen der New Yorker West Side um 1955 beeinflußte dann ihre Arbeit; an die Stelle der Religion trat das Einwanderungsproblem, das im Stück am Beispiel der beiden Banden, der Sharks (Einwanderer) und der Jets (Einheimische), behandelt wird. Choreographie (Robbins/Gennaro) und Musik (Bernstein) waren das Fundament des Musicals, und die spätere Mitarbeit von Laurents (Text) und Sondheim (Gesangstexte) zeigt als Resultat eine erstaunliche Einheit, die im Musiktheater, insbesondere im Musical, selten so erreicht worden ist. Die Musik berücksichtigt Elemente des Jazz und der Sinfonie, macht Anleihen beim italienischen Opernstil und wird gleichzeitig auch der Show gerecht, ohne den spanischen Charakter der Puertorikaner zu übersehen. Das Musical bietet eine reiche Palette von Stil und Klang; um so erstaunlicher die musikalische Kontinuität des fast völlig durchkomponierten Stücks. In der deutschen Bearbeitung ist die Taunting Scene mit »Vergewaltigung« übersetzt; es wird eine solche choreographisch nur angedeutet, zum Ausdruck soll die Verhöhnung Haibwüchsiger kommen.
Und hier haben wir noch gleich das gesamte Textheft für Sie:
WEST SIDE STORY ACT I 1.Prologue 2.Jet Song 3.Something's Coming 4.The Dance at the Gym 5.Maria 6.Balcony Scene 7.Tonight 8.America 9.Cool 10.One Hand, One Heart 11.Tonight (Reprise) 12.The Rumble ACT II 13.I Feel Pretty 14.Somewhere (Ballet) 15.Somewhere 16.Gee, Officer Krupke! 17.A Boy Like That / I Have a Love 18.Taunting Scene 19.Finale ACT I 1.Prologue [ Top ] The Neighborhood - The months before (The opening, half danced half mimed, is a condensation of the growing rivalry between two teenage gangs. The Sharks are Puerto Ricans, the Jets an anthology of what is called 'American'. The Jets want to hold on to their territory and clean out the Sharks in a rumble.) 2.Jet Song [ Top ] The Street - 5:00 p.m. 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. BABYJOHN: Who wouldn't wanna belong to the Jets! RIFF: Right! He's always come through for us and he will now. When you' re a Jet You're a Jet al1 the way From your first cigarette To you last dyin' day. When you're a Jet If the shit 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! I know Tony like I know me. I guarantee you Can count him in. ACTION: In, out, let's get crackin' A-RAB: Where you're gonna find Bernardo? RIFF: At the dance tonight at the gym BIG DEAL: But the gym is neutral territory. RIFF (innocently): I'm gonna make nice there! I'm only gonna challenge him. A-RAB: Great Daddy-O! RIFF: so everybody dress up sweet and sharp and meet Tony and me at ten. ALL: Oh, when the Jets fall in at the cornball dance We'll be the sweetest dressin' gang in pants! And when the chicks dig us in our Jet black ties, They're gonna flip, gonna flop, gonna drop like flies! (They dance together a little wild ) RIFF: Hey, Cool! Easy. Sweet. See ya. And walk tall! (He runs off) A-RAB: We always walk tall! BABY JOHN: We're Jets! ACTION: The greatest! ACTION and BABY JOHN: When you're a Jet You're the top cat in town You're the gold-medal kid With the heavyweight crown! A-RAB, ACTION and BIG DEAL: When you're a Jet You're the swingingest thing Little boy, you're a man Little man, you're a king ALL: The Jets are in gear. Our cylinders are clicking The Sharks'll stay 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! On the whole ever-mother-lovin' street! 3.Something's Coming [ Top ] A Back Yard - 5:30 p.m. (Tony has been painting a sign for Doc's drugstore, where he now works. Riff talks him into joining the Jets at the dance, but Tony's mind is already on other things.) TONY: Could be! Who knows? There's something due any day I will know, right away Soon as it shows It may come connanballing down Through the sky Gleam in its eye, bright as 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, comin' to me... Could it be, yes, it could Something's comin', something good If I can wait! Something's comin', I don't know what it is But it is gonna be great! With a click, with a shock , Phone'll jingle, door will knock, Open the latch! Something's comin', Don't know when But it's soon Catch the moon, One-handed catch! Around the corner, Or whistlin' 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... Maybe tonight... Maybe tonight...! 4.The Dance at the Gym [ Top ] The Gym - 10:00 p.m. (By the time the mambo music starts the Jets and sharks are each on their own side of the hall. At the climax of the dance, Tony and Bernardo's sister, Maria, see one another : as a delicate cha-cha-cha, they slowly walk forward to meet each other.) Meeting Scene TONY: You're not thinking I'm someone else? MARIA: I know you are not. TONY: Or that we have met before? MARIA: I know we have not. TONY: I felt I knew something-never-before was going to happen, had to happen. But this is ... MARIA (interrupting) : My hands are so cold. (He takes them in his) Yours too.(He moves her hands to his face.) So warm. (She moves his hands to her face.) TONY: Yours, too... MARIA: But of course. They are the same. TONY: It's so much to believe. You're not joking me? MARIA: I have not yet learned how to joke that way. I think how I never will. JUMP (Bernardo is upon them in an icy rage. Chino, whom Bernardo has brought Maria from Puerto Rico to marry, takes her home. Riff wants Bernardo for "War Council"; they agree to meet in hall an hour at Doc's drugstore.) 5.Maria [ Top ] (As Tony sings, he looks for where Maria lives.) TONY: Maria . . The most beautiful sound I ever heard: Maria. Maria. Maria. Maria... All the beautiful sounds of the world in a single word Maria. Maria. Maria. Maria... Maria! I've just met a girl named Maria And suddenly that name Will never be the same To me. Maria! I've just kissed a girl named Maria And suddenly I've found How wonderful a sound Can be! Maria! Say it loud and there's music playing, Say it soft and it's almost like praying Maria! I'll never stop saying Maria! The most beautiful sound I ever heard Maria... 6.Balcony Scene [ Top ] A Back Alley - 11:00 p.m. (Maria appears at the window above him which opens onto the escape.) TONY: Maria, Maria... MARIA: Ssh! TONY: Maria! MARIA: Quiet! TONY: Come down! MARIA: No! TONY: Maria... MARIA: Please if Bernardo! TONY: He's at the dance. Come down! MARIA: He will soon bring Anita home! TONY: Just for a minute... MARIA(smiles): A minute is not enough TONY(smiles): For an hour then... MARIA: I cannot! TONY: For ever! MARIA: Ssh! TONY: Then I'm coming up WOMAN'S VOICE(from the offstage apartment): Maria! MARIA: Momentito, Mama... TONY (climbing up): Maria, Maria... MARIA: Caladito! (reaching her hand out to stop him) Ssh! TONY (grabbing her hand): Ssh! MARIA: It is dangerous. TONY: I'm not "one of them". MARIA: You are; but to me, you are not. Just as I am one of them... (gestures inside) TONY: To me, you are all the... (She covers his mouth with her hand.) MAN'S VOICE (from the unseen apartment): Maruca! MARIA: Si, ya vengo, Papa! TONY: Maruca? MARIA: His pet name for me. TONY: I like him. He will like me. MARIA: No. He is like Bernardo: afraid. Imagine being afraid of you! TONY: You see? MARIA (touching his face): I see you. TONY: See only me. 7.Tonight [ Top ] MARIA: Only you, you're the only thing I'll see forever. 1n my eyes, in my words and in ev'rything I do, Nothing else but you. Ever! TONY: And there's nothing for me but Maria, Ev'ry sight that I see is Maria. MARIA: Tony. Tony... TONY: Always you, ev'ry thought I'll ever know, MARIA: Ev'rywhere I go, you'll be, you and me! All the world is only you and me! (They kiss) Tonight, tonight, It all began tonight, I saw you and the world went away. Tonight, tonight, There's only you tonight, What you are, what you do, what you say. Today, a1l day I had the feeling A miracle would happen. I know now I was right. For here you are, And what was just a world is a star Tonight! BOTH: Tonight. tonight, The world is full of light, With suns and moons all over the place. Tonight, tonight, The world is wild and bright. Going mad, shooting sparks into space. Today the world was just an address. A place for me to live in, No better than all right, But here you are And what was just a world is a star Tonight! (They kiss. Maria goes inside.) TONY: Tonight! Tonight! It all began tonight I saw you and the world went away MARIA (returning): I cannot stay. Go quickly! TONY: I am not afraid! MARIA: They are strict with me. Please! TONY: I love you. MARIA: Yes, yes, hurry. Go! (He climbs down.) Buenas noches! MARIA: Wait! When will! See you? (He starts back up.) TONY: Tomorrow MARIA: I work at the bridal shop. Come there. TONY: At sundown MARIA: Yes. Good night. TONY: Good night (starts off) MARIA: Tony! TONY: Ssh! MARIA: Come to the back door TONY: Si. MARIA: Tony! (He stops.) What does Tony stand for? TONY: Anton. MARIA: Te adoro. Anton... TONY: Te adoro, Maria! BOTH: Good night, good night, Sleep well and when you dream, Dream of me... Tonight! (As Tony ducks out into the shadows, Bernardo enters with his girl Anita, followed by other Sharks and their girls. The boys leave to the "War Council" at Doc's drugstore) 8.America [ Top ] ROSALIA: Puerto Rico... You lovely island ... Island of tropical breezes Always the pineapples growing, Always the coffee blossoms blowing... ANITA (mockingly): Puerto Rico: You ugly island... Island of tropic diseases. Always the hurricanes blowing, Always the population growing... And the money owing, And the babies crying, And the bullets flying. I like the island Manhattan - Smoke on your pipe and put that in! OTHERS (except Rosalia): I like to be in America! Okay by me in America! Everything free in America For a small fee in America ROSALIA: I like the city of San Juan ANITA: I know a boat you can get on. ROSALIA: Hundreds of flowers in full bloom. ANITA: Hundreds of people in each room! ALL (except Rosalia): Automobile in America, Chromium steel in America, Wire-spoke wheel in America, Very big deal in America! ROSALIA: I'll drive a Buick through San Juan. ANITA: If there's a road you can drive on! ROSALIA: I'll give my cousins a free ride ANITA: How can you get all of them inside? ALL (except Rosalia): Immigrant goes to America, Many hellos in America, Nobody knows in America, Puerto Rico's in America! (The girls dance around Rosalia.) ROSALIA: I'll bring a TV to San Juan. ANITA: If there's a current to turn on! ROSALIA: I'll give them new washing machine. ANITA: What have they got there to keep clean? ALL (except Rosalia): I like the shores of America! Comfort is yours in America! Knobs on the doors in America, Wall-to-wall floors in America! (They dance) ROSALIA: When I will go back to San Juan - ANITA: When you will shut up and get gone! ROSALIA: Ev'ryone there will give big cheer! ANITA: Ev'ryone there will have moved here! (More dancing). 9.Cool [ Top ] The Drugstore - Midnight (The Jets await the arrival of the Sharks for the "War Council". The atmosphere is tense, jumpy.) RIFF: Boy, boy, crazy boy. Get cool, boy! Got a rocket in your pocket, Keep coolly cool, boy! Don't get hot, 'Cause, man, you got Some high times ahead. Take it slow and Daddy-o, You can live it up and die in bed! Boy, boy, crazy boy. Stay loose, boy! Breeze it, buzz it, easy does it. Turn off the juice, boy! Go, man, go. But not like a yo-yo Schoolboy Just play it cool, boy, Real cool! FUGUE (Frenetic dance) JETS: Boy, boy, crazy boy. Stay loose, boy! etc. Schoolboy... RIFF: Just play it cool, boy, Real cool! (The Sharks enter. Riff challenges Bernardo and they agree on a fair fight - the best man from each gang to slug it out.) 10.One Hand, One Heart [ Top ] The Bridal Shop - The next day, 5:30 p.m. (Maria is sewing a wedding veil; Tony enters. She persuades him to try to stop the fight. After planning to meet that evening, they arrange the mannequins in bridal party garb for a mock wedding, then kneel, as before an altar.) TONY: I, Anton, take thee, Maria... MARIA: I, Maria, take thee, Anton... TONY: For richer, for poorer... MARIA: In sickness and in health... TONY: To love and to honor... MARIA: To hold and to keep... TONY: From each sun to each moon... MARIA: From tomorrow to tomorrow... TONY: From now to forever... MARIA: Till death do us part. TONY: With this ring, I thee wed. MARIA: With this ring, I thee wed. TONY: Make of our hands one hand, Make of our hearts one heart, Make of our vows one last vow Only death will part us now MARIA: Make of our lives one life, Day after day one life. BOTH: Now it begins, now we start One hand one heart; Even death won't part us now. (They rise and slowly put the mannequins back into position.) BOTH: Make of our lives one life, Day after day one life. Now it begins, now we start One hand one heart; Even death won't part us now. 11.Tonight (Reprise) [ Top ] The Neighborhood - 6:00 to 9:00 p.m. (Riff and the Jets, Bernardo and the Sharks, Anita Maria and Tony all wait expectantly for the coming of night.) ENSEMBLE RIFF: The Jets are gonna have their day Tonight BERNARDO: The Sharks are gonna have their way Tonight RIFF: The Puerto Ricans grumble, "Fair fight" But if they start a rumble, We'll rumble 'em right SHARKS: We're gonna hand 'em a surprise Tonight JETS: We're gonna cut 'em down to size Tonight SHARKS: We said "O. K. no rumpus, No tricks." But just in case they jump us. We're ready to mix. Tonight! BOTH: We're gonna rock it tonight We're gonna jazz it up and have us a ball! They're gonna get it tonight; The more they turn it on, the harder they fall! JETS: Well, they began it! SHARKS: Well, they began it - BOTH: And we're the ones to stop 'em once and for all, Tonight! ANITA: Anita's gonna get her kicks Tonight We'll have our private little mix Tonight He'll walk in hot and tired, So what? Don't matter if he's tired, As long as he's hot Tonight! TONY: Tonight, tonight, Won't be just any night, Tonight there will be no morning star. Tonight, tonight! I'll see my love tonight And for us stars will stop where they are. Today the minutes seem like hours, The hours go so slowly, And still the sky is light... Oh moon, grow bright, And make this endless day endless night! RIFF (to Tony): I'm counting on you to be there Tonight. When Diesel wins it fair and square Tonight. That Puerto Rican punk'll Go down. And when he's hollered Uncle We'll tear up the town! MARIA: Tonight, tonight Won't be just any night, etc. RIFF (firmly): So I can count on you, boy! TONY (abstractedly): All right RIFF: We're gonna have us a ball TONY (a bit impatiently): All right All right RIFF (gently): Womb to tomb! TONY (regretting his impatience): Sperm to worm! RIFF: I'll see you there about eight... TONY: Tonight... BERNARDO and SHARKS: We're gonna rock it tonight!! ANITA: Tonight... BERNARDO and SHARKS: We're gonna jazz it up and have us a ball! They're gonna get it tonight, tonight! They began it, they began it And we're the ones to stop 'em once and for all, Tonight! The Sharks are gonna have their way, The Sharks are gonna have their day, We're gonna rock it tonight, Tonight! ANITA: Tonight, Late tonight We're gonna mix it tonight Anita's gonna have her day, Bernardo's gonna have his way Tonight, tonight Tonight this very night, We're gonna rock it tonight! RIFF and JETS: They began it, they began it We'll stop 'em once and for all! The Jets are gonna have their way, The Jets are gonna have their day, We're gonna rock it tonight, Tonight! MARIA: I'll see my love tonight And for us stars will stop where they are. Today the minutes seem like hours, The hours go so slowly, And still the sky is light... Oh moon, grow bright, And make this endless day endless night! Tonight! TONY: Today the minutes seem like hours, The hours go so slowly, And still the sky is light... Oh moon, grow bright, And make this endless day endless night! Tonight! 12.The Rumble [ Top ] Under The Highway - 9:00 p.m. (The gangs come in from separate sides Bernardo and Diesel are just beginning the "fair fight" when Tony tries to stop them Riff hits Bernardo and both open knives. As Riff is about to kill Bernardo, Tony moves to stop him. Bernardo runs his knife into Riff. Riff falls toward Tony; Tony takes the knife from his hand and kills Bernardo. The gangs disperse in panic and confusion, except for Tony who stands horrified, over the bodies of Riff and Bernardo. Suddenly he realizes the danger and runs.) ACT II 13.I Feel Pretty [ Top ] Maria's Bedroom - 9:15 p.m. MARIA (who is getting dressed up to meet Tony): I feel pretty, Oh, so pretty, I feel pretty and witty and bright, And I pity Any girl who isn't me tonight. I feel charming, Oh, so charming - It's alarming how charming I feel, And so pretty That I hardly can believe I'm real. See the pretty girl in that mirror there: Who can that attractive girl be? Such a pretty face, Such pretty dress, Such a pretty smile. Such s pretty me! I feel stunning And entrancing. Feel like running and dancing for joy. For I'm loved By a pretty wonderful boy! GIRLS: Have you met my good friend Maria. The craziest girl on the block? You'll know her the minute you see her, She's the one who is in an advanced state of shock. She thinks she's in love, She thinks she's in Spain, She isn't in love, She's merely insane! It must be the heat, Or some rare disease Or too much to eat Or maybe it's fleas Keep away from her. Send for Chino! This is not the Maria we know Modest and pure. Polite and refined. Well-bred and mature And out of her mind! MARIA: I feel pretty. Oh, so pretty! That the city should give me its key A committee Should be organized to honor me! GIRLS: La, la, la, la... MARIA: I feel dizzy, I feel sunny, I feel dizzy and funny and fine And so pretty, Miss America can just resign! GIRLS: La, la, la, la... MARIA: See the pretty girl in that mirror there: GIRLS: What mirror, where? MARIA: Who can that attractive girl be? GIRLS: Which? What? Where? Whom? Such a pretty face, Such pretty dress, Such a pretty smile. Such s pretty me! GIRLS: Whom-mmm? Such s pretty me! ALL: I feel stunning And entrancing. Feel like running and dancing for joy. For I'm loved By a pretty wonderful boy! (Chino enters and tells Maria that Tony has killed Bernardo; he finds a gun and goes out looking for Tony. As Maria kneels in prayer, Tony appears. He explains what has happened and asks her to forgive him. They declare their love again in an embrace.) 14.Somewhere (Ballet) [ Top ] TONY: And - and And I'll take you away, take you far, far away out of here, Far, far away till the walls and the streets disappear. TONY and MARIA: Somewhere there must be a place we can feel we're free, Somewhere there's got to be some place for you and for me. (As he sings, the walls of the apartment begin to move off, leaving city walls surrounding them. The two lovers begin to run, battering against the walls of the city, breaking through as chaotic figures of the violent gangs flail around them. But they do break through and suddenly they are in a world of space and air and sun. They stop, looking at if, pleased, startled as boys and girls from both sides come on.) SCHERZO (They begin to dance, to play: no sides, no hostility now; just joy and pleasure and warmth. As Tony and Maria begin the steps of a gentle love dance, a voice is heard singing.) 15.Somewhere [ Top ] A GIRL: There's a place for us, Somewhere a place for us. Peace and quiet and open air Wait for us Somewhere. There's a time for us, Some day a time for us. Time together and time to spare, Time to look, time to care Some day! Somewhere We'll find a new way of living, Will find there's a way of forgiving Somewhere... There's a place for us, A time and place for us. Hold my hand and we're halfway there Hold my hand and I'll take you there Somehow... Some day... Somewhere... PROCESSION AND NIGHTMARE (The lovers hold out their hands to each other, the others follow suit - Jets to Sharks; Sharks to Jets and form a sort of procession.) ALL: There's a place for us... (Suddenly there is a dead stop. The figures of Riff and Bernardo slowly walk on. The dream becomes a nightmare: as the city returns, there are brief reenactments of the knife fight, of the deaths Maria and Tony are once again separated from each other by the violent warring of the two sides. Maria tries to reach Bernardo, Tony tries to stop Riff; the lovers try to reach each other but cannot. Chaotic confusion and blackness out of which they find themselves back in the bedroom, clinging to each other desperately.) TONY: Hold my hand and we're halfway there Hold my hand and I'll take you there TONY and MARIA: Somehow... Some day... Somewhere! (They sink back together on the bed.) 16.Gee, Officer Krupke! [ Top ] Another Alley - l0:00 p.m. KRUPKE (whistle): Hey, you! A-RAB: Who me? KRUPKE: Yeah, you! (A-rab and Baby John stop surprised.) A-RAB: Why it is Officer Krupke, Baby John- BABYJOHN (quaking): Top of the evening, Officer Krupke. KRUPKE: I'll crack the top of your skulls if you punks don't stop when I whistle, (exits; other Jets appear.) SNOWBOY: Ya see, cops believe everything they read in the paper. ACTION: To them we ain't human. We're cruddy juvenile delinquents. So that's what we give 'em. SNOWBOY(imitating Krupke): Hey, you! ACTION: Me, Officer Krupke? SNOWBOY: Yeah, you! Gimme one good reason for not dragging ya down the station house, ya punk! ACTION: Dear kindly Sergeant Krupke, You gotta understand, It's just our bringing up-ke That get us out of hand. Our mothers all are junkies, Our fathers all are drunks, Golly Moses, natcherly we're punks! ACTION and QUARTET: Gee. Officer Krupke, we're very upset; We never had the love that every child oughta get We ain't no delinquents, We're misunderstood, Deep down inside us there is good! ACTION: There is good! ALL: There is good, there is good, There's an tapped good, Like inside, the worst of us is good. SNOWBOY(imitating Krupke): That's a touchin' good story! ACTION: Lemme tell you to the world! SNOWBOY ("Krupke"): Just tell it to the judge! ACTION(to "Judge"): Dear kindly Judge, your Honor, My parents treat me rough, With all the marijuana, They won't give me a puff. They didn't wanna have me, But somehow I was had. Leapin' lizards, that's why I'm so bad! DIESEL ("Judge"): Officer Krupke, you're really a square; This boy don't need a judge, he needs an analyst's care! It's just his neurosis that oughta be curbed. He's psychologic'ly disturbed! ACTION: I'm disturbed! ALL: We're disturbed. we're disturbed, We're the most disturbed, Like we're psychologic'ly disturbed. DIESEL ("Judge"): In the opinion of this court, this child is depraved on account he ain't had a normal home. ACTION: Hey, I'm depraved on account I'm deprived! DIESEL ("Judge"): So take him to a headshrinker. ACTION (to "Psychiatrist"): My father is a bastard, My ma's an S.O.B. My grandpa's always plastered, My grandma pushes tea, My sister wears a mustache, My brother wears a dress, Goodness gracious, that's why I'm a mess! A-RAB ("psychiatrist"): Yes! Officer Krupke, you're really a slob. This boy don't need a doctor, just a good honest job. Society's played him a terrible trick, "Und" sociogic'ly he's sick! ACTION: I am sick! ALL: We are sick, we are sick, We are sick sick sick, Like we're sociologically sick! A-RAB ("psychiatrist"): In my opinion this child don't need to have his head shrunk at all. Juvenile delinquency is purely a social disease! ACTION: Hey, I got a social disease! A-RAB ("psychiatrist"): So take him to a social worker! ACTION (to "Social Worker"): Dear kindly social worker. They say go earn a buck, Like be a soda jerker, Which means like be a schmuck. It's not I'm anti-social, I'm only anti-work, Glory Osky, that's why I'm a jerk! BABY JONN (imitating female social worker): Eek! Officer Krupke, you've done it again. This boy don't need a job, he needs a year in the pen. It ain't just a question of misunderstood; Deep down inside him, he's no good! ACTION: I'm no good! ALL: We're no good, we're no good, We're no earthly good, Like the best of us is no damn good! DIESEL ("Judge"): The trouble is he's crazy! A-RAB ("Psychiatrist"): The trouble is he drinks! BABY JOHN ("Social Worker"): The trouble is he's lazy! DIESEL ("Judge"): The trouble is he stinks! A-RAB ("Psychiatrist"): The trouble is he's growing! BABY JOHN ("Social Worker"): The trouble is he's grown! ALL: Krupke. we got troubles of our own! Gee, Officer Krupke, We're down on our knees, 'Cause no one wants a fella with a social disease. Gee, Officer Krupke, What are we to do! Gee, Officer Krupke, Krup you! 17.A Boy Like That / I Have a Love [ Top ] Maria's Bedroom - l1:30 p.m. (Anita knocks at Maria's locked door. After agreeing with Maria to meet at the drugstore, Tony scrambles out the window, Maria opens the door for Anita, who looks at the bed and turns to her accusingly.) ANITA (bitterly): A boy like that who'd kill your brother, Forget that boy and find another, One of your own kind! Stick to your own kind! A boy like that will give you sorrow, You'll meet another boy tomorrow, One of your own kind! Stick to your own kind! A boy who kills cannot love, A boy who kills has no heart. And he's the boy who gets your love And gets your heart. Very smart, Maria, very smart! A boy like that wants one thing Only, And when he's done he'll leave you lonely. He'll murder your love; he murdered mine. Just wait and see, Just wait, Maria, Just wait and see! MARIA: Oh, no, Anita, no! Anita, no! It isn't true, not for me. I hear your words And in my head I know they're smart, But my heart knows they're wrong, And my heart is too strong. For I belong to him alone, to him alone. One thing I know: I am his. I don't care what he is. I don't know why it's so, I don't want to know. ANITA: A boy like that who'd kill your brother, Forget that boy and find another, One of your own kind! Stick to your own kind! A boy like that will give you sorrow, You'll meet another boy tomorrow, One of your own kind! Stick to your own kind! A boy who kills cannot love, A boy who kills has no heart. And he's the boy who gets your love And gets your heart. Very smart, Maria, very smart! MARIA: Oh, no, Anita, no! Anita, no! You should know better! You were in love - or so you said You should know better... I have a love, and it's all that I have Right or wrong, what else can I do? I love him; I'm his, And ev'rything he is I am too. I have a love and it is all that I need. Right or wrong, and he needs me too. I love him, we're one, There's nothing to be done. Not a thing I can do, But hold him, Hold him forever, Be with him now tomorrow And all of my life! BOTH: When love comes so strong, There is no right or wrong, Your love is your life! (A policeman comes in to Question Maria, who sends Anita to tell Tony.) 18.Taunting Scene [ Top ] The Drugstore - 11:00 p.m. (The Jets have gathered at Doc's drugstore where Tony is hiding in the cellar. Anita enters with a message for Tony from Maria. A Coin is put in the juke-box: a low mambo. The taunting of Anita by the Jets breaks out into a wild savage dance, which is stopped by Doc. Anita is driven to say to the Jets that Chino has shot Maria. Doc tells Tony, who runs out.) 19.Finale [ Top ] The Street - Midnight (Tony is calling for Chino to kill him too. Maria steps out of the darkness. Then another figure appears: Chino. As Maria and Tony run to each other, Chino shoots Tony, and he stumbles. Maria watches him and cradles him in her arms. Other Jets, Sharks and girls run on). MARIA: Hold my hand and we're halfway there. Hold my hand and 1''ll take you there. Somehow, Some day... TONY: Hold my hand and I'll take you there, Somehow ... (He dies. After a moment Maria gently rests him on the floor and lightly brushes his lips with her fingers. Krupke, Doc and other adults have entered). MARIA (softly, privately): Te adoro, Anton. (She kisses him gently. Two Jets and two Sharks lift up Tony's body and carry him out. The others fall in behind to make a procession. Maria sits quietly. At last, she gets up and, despite her tears, lifts her head proudly and turns to follow the others. The adults are left alone.)