He is so grateful and excited to be a part of his all time favorite show.
Leonard Bernstein, although not as prolific as Gerschwin, Berlin, Kern, Rodgers or Loewe, placed himself on a par with these giants of musical theatre with this one score, a mix of edgy jazz and heart-wrenching melody. Then there is the choreography of Jerome Robbins, turning aggressive tension into dance moves, with complex layers and patterns that seem almost contradictory but work harmoniously.
But what is really special is how all these things weave into each other. The choreography picks up on every subtlety of the music, and blurs the lines between dancing and fighting. Even the dialogue has a kind of snappy rhythm to it, allowing the talkie scenes to flow straight into the musical numbers.
Walter Mirisch, who acquired the filming rights, knew what he was doing when he handed the project to two directors, Jerome Robbins and Robert Wise.
Robbins had directed it for the stage, and there was really no-one better to ensure his own choreography survived intact for the screen version. However with no experience behind a camera, it was unlikely he could have tackled the whole thing single-handed.
Robert Wise was the perfect partner for him, a highly professional and dedicated screen director, who had never done a musical before but had proved himself sensitive to rhythm and movement in pictures such as This Could Be the Night and I Want to Live!.
Between them, Wise and Robbins have reproduced the synchronicity of the stage show, as well as extending it in a cinematic dimension. This I believe was largely the input of Robbins, who was apparently fascinated by what cinema could do. He does some great work with colour, such us the red background that suddenly comes into view in that first close up of George Chakiris Bernardo.
His approach is subtler, but he still cleverly merges image and music, keeping the camera close for the quieter moments, then pulling back as the song becomes bigger, allowing the backgrounds to become part of the tone.
Wise also holds up the musicality elsewhere. One trick this former editor uses is to ensure that at key moments consecutive shots are jarringly different in colour and arrangement, which keeps that jagged rhythm going in image as well as sound.
One major source of controversy was the changes to the cast. It was a fact in Hollywood at this time that non-singing actors would be cast in the lead roles, to be dubbed by non-acting singers.
Natalie Wood was a marvellous dramatic player and experienced movie actress, adept at emoting for the camera. Richard Beymer is not an exceptionally good lead man, but he is good enough, and at least looks the part. What is great about these supporting players is that they make dancing, singing and acting become one.
Russ Tamblyn, George Chakiris and especially the magnificent Rita Moreno all dance in the way their character should move. Moreno, using her own voice for all but one number, continues to spit out her lyrics just as Anita would, treating each song as a piece of drama.
But there are still one or two things for the theatre snobs to nitpick over. There is the re-ordering of several songs to take place at different times. This was done to keep the lighter songs in the first half of the picture and keep the darkening of mood towards the end consistent, and it works for the film.
All of which leaves us with just the whinges of the pretentious film fans, who seem to think that cinema is only about "auteurs", film noir, nouvelle vague, the art house and bloody Stanley Kubrick. Was this review helpful?
Sign in to vote.West Side Story is a musical with a book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim. It was inspired by William Shakespeare's play Romeo and Juliet..
The story is set in the Upper West Side neighborhood in New York City in the mid s, an ethnic, blue-collar neighborhood (in the early s, much of the neighborhood was cleared in an urban renewal project.
There are quite a few choices for West Side Story in the Amazon Cloud Store, but I chose this one because of it's quality of sound. I've loved the music from this musical before our 7th grade teacher was introducing our class to this media & critiquing.
The official website for 42nd Street the musical.
Come and meet those dancing feet. Broadway’s biggest show is coming to the West End’s biggest stage in March – . West Side Story is the award-winning adaptation of the classic romantic tragedy, "Romeo and Juliet". The feuding families become two warring New York City gangs- the white Jets led by Riff and the Puerto Rican Sharks, led by Bernardo.
39 rows · Find composition details, parts / movement information and albums that . Dance is a performing art form consisting of purposefully selected sequences of human ph-vs.com movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture.
What Is Musicality? Musicality in dance has two main components. Receptivity and Creativity.. Musical receptivity is ones ability to receive, comprehend, be sensitive to, and have a working knowledge of musical concepts like rhythm, tempo, phrasing, and even mood.. Musical creativity (or musical artistry) is the ability to connect with accompanying music, interpret it, or phrase and add. West Side Story-A Romeo and Juliet Musical Tale West Side Story is a Rome and Juliet musical set in the early 60s directed by Jerome Robbins and Robert Wise. Set in modern New York City, West Side Story begins by introducing us to the Jets (Shakespeare's Montagues), a white gang of juveniles who immediately begin the scenes with a . Four Dances from West Side Story features some of the highlights of these dance sequences transcribed for band. The “ Scherzo ” is a light-hearted, care-free movement that comes from the Dream Ballet of the musical, in which Tony imagines a world of peace and harmony to which he can take Maria.
Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.