Posted at 10.16.2018
To discuss the historical development of musical theater, this report will present an research of Leonard Bernstein's musical "Western Side Report". It'll demonstrate how the 1961 display version has been modified for the level in the 2009 2009 Broadway revival to suit modern day audiences and show its reflection through time by using ideas and various styles as well as public and economic affects impacting the works.
The conflict between the two rival gangs that is so central to the story could be further interpreted as a issue between Catholic and Jewish communities, that was Bernstein's intention initially. However, Bernstein seized on the theory that current racial tensions in NY brought on by immigrants from Puerto Rico would give a more powerful account and he absolutely saw that would also offer him the possibility to use a range of Latin-American dance rhythms, for he later said. . . :
''it all sprang alive. I heard rhythms and pulses, and - almost all of all - I possibly could type of feel the proper execution. ''
(Bernstein, 2009, p. 58)
Much about Western world Side Story in that time was new and innovative. Instead of the old fashioned relationship, akin to the sooner musicals, this is a story of bleak despair. Expanded dance sequences express the drama, and in a place of rousing finals, both works end in murder. Although Shakespeare's word is not used, his characters are evidently identifiable. . . :
'They say Shakespeare's takes on are timeless because they still talk with the human being condition today''
Accordingly Arthur Laurent, author of the original reserve, got a second chance at his creation, and changed the 2009 2009 Broadway Western world Side Storyline revival into the musical he always wanted to make. The Daily Telegraph found. . . :
''There is little or nothing new about this production of West Side Story - aside from the hot young solid - and it is a prime example of why new is not necessarily best. ''
Social constraints of the time prevented certain use of vocabulary, so some dialogue and lyrics were shipped in Spanish. This made a considerable difference without significantly changing the storyline. Laurent has given the show a far more intimate feeling and made the Puerto Rican Sharks and their ladies, more complete as heroes. They are simply frustrated as strangers in their own land, and the use of Spanish immediately evokes their parting from the English-speaking Jets and their ladies.
The fundamental problems haven't altered much since the start of Western world Side Account 50 years ago, as we continue steadily to wrestle with new civilizations arriving. More importantly, though, this development sets the storyline of the two gangs and a short and star-crossed romance between Maria and Tony as a person's game. The casting here has made the lovers, both breathtaking in their functions, enormously youthful, gives us more gleeful occasions.
It isn't to be, of course, but from the moment West Side Tale commences with the renowned dance prologue through the neighbourhood, faithfully reproduced by Joey McKneely from the original choreography by Jerome Robbins, the show glows with redolent recollections and enchants with great new moments. It takes on against an amazingly flexible collection by James Youmans, used for maximum success by director David Saint.
''the important problem with the show is its depiction of gang assault and the mean pavements of New York. ''. . . : as being said in the Mercury Reports.
That was always a personal of West Part Story, even in the 1961 display screen version, but still well offered fantastic party sequences which were half-danced and half-mimed. This new form of dance became a visible symbol of a function of thought. What the characters were being and thinking was portrayed by their movements and their identities became inseparable from it.
However, when the movie premiered in 1961 it wasn't the boogie which made a large impression, however the cultural tensions. It revealed a deal with for metropolitan space, a space that has already been impregnated with cultural symbols and political significations for the relations, interactions, and public actions according to the "American Life-style. " In this sense, the movie projected how the Puerto Rican migration to NEW YORK in the forties and fifties not only took over the order of the Anglo-Americans, but how it also constitutes a danger for the assumed monolithic individuality of the Anglo-American subject. New York City was shown as a divided territory, financially, racially, and ethnically. Each social-economic group inhabited a space and even neighbourhood border crossings were prevented.
West Side Tale is up to date not only because of it's lengthy dance numbers, emotionally drenched songs and ratings, and a contemporary plot that talks so a lot of the area and time where in fact the story took place, but also because we are now in a place and time where social-economic issues continue steadily to prevail in every home and community and where racial discrimination is still rampant.
The new Broadway revival speaks not only of the show's unwavering acceptance but also of the timeliness of the message it delivers, a note of love, tranquility and harmonious co-existence no matter race and social-economic backgrounds. This concept obviously transcends five years of your ever-changing political, economic, social and ethnic landscape and continues to be relevant up even today.
West Side Storyline shows how dancing, acting, performing and design could mix alongside one another in unity. Whether it's an old version of the musical or a new one, we would say that. . . :
''it marked the most impressive body of choreography within a show, and it was acclaimed as Leonard Bernstein's strongest work for the Broadway level. ''
(Garebein, 2000, p. 9)