From the Musical Theatre International website:

Full Synopsis

Prologue

The opening is a carefully choreographed, half-danced/half-mimed ballet of sorts. It shows the growing tensions between the Sharks, a Puerto Rican gang, and the Jets, a gang made up of "American" boys. An incident between the Jets and Shark leader, Bernardo, escalates into an all out fight between the two gangs. Officers Schrank and Krupke arrive to break up the fight.

Act One

Detective Schrank, the senior cop on the beat, tries to get the Jets to tell him which Puerto Ricans are starting trouble in the neighborhood, as he claims he is on their side. The Jets, however, are not stool pigeons and won't tell him anything. Frustrated, Schrank threatens to beat the crap out of the Jets unless they make nice. When the police leave, the Jets bemoan the Sharks coming onto their turf. They decide that they need to have one big rumble to settle the matter once and for all – even if winning requires fighting with knives and guns. Riff plans to have a war council with Bernardo to decide on weapons. Action wants to be his second, but Riff says that Tony is always his second. The other boys complain that Tony hasn't been around for a month, but Riff doesn't care; once you're a Jet, you're a Jet for life ("Jet Song").

Riff goes to see Tony, who is now working at Doc's drugstore. Riff presses him to come to the school dance for the war council, but Tony resists; he's lost the thrill of being a Jet. He explains that, every night for a month, he's had a strange feeling that something important is just around the corner. Nevertheless, Riff convinces Tony to come to the dance. Riff leaves Tony to wonder about this strange feeling that he's been having ("Something's Coming").

In a bridal shop, Anita remakes Maria's communion dress into a party dress. They are both Puerto Rican. Anita is knowing, sexual and sharp. Maria is excited, enthusiastic and childlike, but also growing into an adult. Maria complains that the dress is too young-looking, but Anita explains that Bernardo, her boyfriend and Maria's brother, made her promise not to make the dress too short. It turns out that the dress is for the dance, which Maria is attending with Chino, whom she is expected to marry, despite the fact that she does not have any feelings for him.

At the dance in the local gym, the group is divided: Jets and their girls on one side and Sharks and their girls on the othe. Riff and his lieutenants move to challenge Bernardo and his lieutenants, but they are interrupted by Glad Hand, the chaperone who is overseeing the dance, and Officer Krupke. The two initiate some dances to get the kids to dance together, across the gang lines. In the promenade leading up to the dance, though, the girls and boys end up facing each other at random, Jet girls across from Shark boys and vice versa. Bernardo reaches across the Jet girl in front of him to take Anita's hand, and Riff does the same with his girlfriend, Velma. Everyone dances with their own group as Tony enters ("Mambo"). During the dance, Maria and Tony spot each other. There is an instant connection. Bernardo interrupts them, telling Tony to stay away from his sister and asking Chino to take her home. Riff and Bernardo agree to meet at Doc's in half an hour for the war council. As everyone else disappears, Tony is overcome with the feeling of having met the most beautiful girl ever ("Maria").

Later, Tony finds the fire escape outside of Maria's apartment and calls up to her. She appears in the window, but is nervous that they will get caught. Her parents call her inside, but she stays. She and Tony profess their love to each other ("Tonight"). He agrees to meet her at the bridal shop the next day. Bernardo calls Maria inside. Anita admonishes him, saying that Maria already has a mother and father to take care of her. Bernardo insists that they, like Maria, don't understand this country. Bernardo, Anita, Chino and their friends discuss the unfairness of America – they are treated like foreigners, while "Polacks" like Tony are treated like real Americans, paid twice as much for their jobs. Anita tries to lure Bernardo inside and away from the war council, but he refuses. As the boys leave for the council, one of Anita's friends, Rosalia, claims to be homesick for Puerto Rico. Anita scoffs at this. While Rosalia expounds on the beauties of the country, Anita responds with why she prefers her new home ("America").

At the drugstore, the Jets wait for the Sharks. discussing what weapons they might have to use. Doc is upset that the boys are planning to fight at all. Anybodys, a tomboy who is trying to join the Jets, asks Riff if she can participate in the rumble, but he says no. Doc doesn't understand why the boys are making trouble for the Puerto Ricans, and the boys respond that the Sharks make trouble for them. Doc calls them hoodlums and Action and A-rab get very upset. Riff tells them that they have to save their steam for the rumble and keep cool, rather than freaking out ("Cool").

Bernardo arrives at the drugstore and he and Riff begin laying out the terms of the rumble. Tony arrives and convinces them all to agree to a fair fight – just skin, no weapons. The Sharks' best man fights the Jets' best man; Bernardo agrees, thinking that means he will get to fight Tony, but the Jets say they get to pick their fighter. Schrank arrives and breaks up the council. He tells the Puerto Ricans to get out. Bernardo and his gang exit. Schrank tries to get the Jets to reveal the location of the rumble and becomes increasingly frustrated when they refuse. He insults them and leaves. As Tony and Doc close up the shop, Tony reveals that he's in love with a Puerto Rican. Doc is worried.

The next day at the bridal shop, Maria tells Anita that she can leave, that Maria will clean up. Anita is about to go when Tony arrives. She suddenly understands and promises not to tell on them. When she leaves, Tony tells Maria that the rumble will be a fair fight, but even that's no acceptable for her, so she asks him to go to the rumble and stop it. He agrees. He'll do anything for her. They fantasize about being together and getting married ("One Hand, One Heart"). Later, the members of the ensemble wait expectantly for the fight, all for different reasons ("Tonight Quintet").

At the rumble, Diesel and Bernardo prepare to fight, with Chino and Riff as their seconds. Tony enters and tries to break up the fight, but provokes Bernardo against him instead. Bernardo calls Tony a chicken for not fighting him. Riff punches Bernardo and the fight escalates quickly until Riff and Bernardo pull out knives. Bernardo kills Riff and, in response, Tony kills Bernardo, instantly horrified by what he's done. The police arrive as everyone scatters; Anybodys pulls Tony away just in time.

Act Two

In Maria's apartment, she gushes to her friends about how it is her wedding night and she is so excited ("I Feel Pretty"). Chino interrupts her reverie to tell her that Tony has killed Bernardo. She refuses to believe him, but when Tony arrives on her fire escape, he confesses. He offers to turn himself in, but she begs him to stay with her. She says that, although they are together, everyone is against them. Tony says they'll find a place where they can be together ("Somewhere").

In a back alley, the Jets regroup in shock. No one has seen Tony. Officer Krupke comes by, threatening to take them to the station house. The boys chase him away for the moment and then release some tension by play-acting the scenario of what would happen if Krupke actually did take them to the station house ("Gee, Officer Krupke"). Anybodys shows up with information about Tony and the fact that Chino is looking for him. She uses this information to get the boys to treat her like one of the gang. The Jets agree that they need to find Tony and warn him about Chino.

Meanwhile, Anita comes into Maria's room and finds her with Tony. Tony and Maria are planning to run away. Tony knows that Doc will give him money, so he goes to the drugstore and tells Maria to meet him there. She agrees. When he leaves, Anita explodes at her for loving the boy who killed her brother. Maria acknowledges that it's not smart, but she can't help it ("A Boy Like That / I Have a Love"). Anita tells Maria that Chino has a gun and is looking for Tony. Schrank arrives and detains Maria for questioning. Maria covertly asks Anita to go to Doc's and tell Tony that she has been delayed. Reluctantly, Anita agrees.

The Jets arrive at Doc's, learning that Tony and Doc are in the basement. Anita arrives and asks to speak to Doc. The Jets, recognizing her as Bernardo's girl and thinking that she is there to betray Tony to Chino, won't let her go down to the basement to talk to Doc. Instead, they harass and attack her. Doc arrives to find them ganging up on her; he breaks it up, but Anita, disgusted and hurt, lies to Doc and tells him to relay a message to Tony: Chino has shot Maria, and he will never see her again.

When Doc returns to Tony in the basement, he delivers Anita's message. Tony is distraught and heartbroken. He runs out into the streets and calls Chino to come for him. Anybodys tries to stop him, but Tony doesn't care. He yells to Chino that he should come out and shoot him, too. Maria appears in the street – much to Tony's surprise – and they run towards each other. In that moment, Chino steps out of the shadows and shoots Tony, who falls into Maria's arms, gravely wounded.

The Jets, Sharks and Doc appear on the street. Maria picks up the gun and points it all of them, asking Chino if there are enough bullets to kill all of them and herself, as well. The depths of her sadness and anger move everyone as she breaks down over Tony's body. Officers Krupke and Schrank arrive. They stand with Doc, watching as two boys from each gang pick up Tony's body and form a processional. The rest follow the processional, with Baby John picking up Maria's shawl, giving it to her and helping her up. As Maria follows the others, the adults continue to bear silent witness ("Finale").

• Riff, leader of the Jets

• Bernardo, leader of the Sharks

• Maria, Bernardo's little sister

• Tony, a founder of the Jets

• Doc, owner of Doc's store/Tony's boss

• Anita, Bernardo's girlfriend

• Ice, one of the toughest Jets

• Lt. Shrank, police officer

• Officer Krupke, police officer

To find out who played each character, visit Stage & Screen pages.

The Jets are from Manhattan. They have ruled their "turf" for years, after defeating the Emeralds. The Sharks are from Puerto Rico. They have just recently come to NY, and want a "turf" of their own.

West Side Story is based on a conception by Jerome Robbins.

Book by Arthur Laurents
Lyrics by Stephen Sondheim
Music by Leonard Bernstein
Entire Original Production Directed and Choreographed by Jerome Robbins
Orchestrations by Leonard Bernstein with Sid Ramin and Irwin Kostal

Film Version:
Directed by: Robert Wise & Jerome Robbins
Screenplay: Ernest Lehman
Choreography: Jerome Robbins

The stage version of West Side Story opened in previews/tryouts on August 20, 1957 in Washington D.C. Following this and another preview engagement in Philadelphia, the musical opened on Broadway at the Winter Garden Theater, September 26, 1957.

The film version was released on October 18, 1961

While the movie version of West Side Story is among the most faithful of Hollywood adaptations, a number of changes were made in translating the work to film, some to suit the medium, others to suit the audience sensibilities, and one or two so-called artistic choices. Here are some examples.

Setting. While it seems only natural now, the idea of filming on actual city streets took some time in forming. The original stage version was performed with abstract settings, minimal in the extreme.

Score. The music of West Side Story was carefully re-worked for the film. The Overture includes the song "Maria," changed from "Somewhere" in the stage version. (The overture is often eliminated in the stage productions.) Music was added extending "The Prologue", and so the actual dancing of the Jets evolves slowly from other physical movement such as the basketball shots. (On stage, the dancing begins almost immediately.) The change most often discussed and debated is the switching of "Gee, Officer Krupke" and "Cool". Apparently a song as jolly as Krupke was considered incompatible to the mood created by the rumble, so this song, as well as the merry "I Feel Pretty" were both moved up to happier times before the rumble. "Cool" was placed in the slot following the rumble, with great effect. On stage, "America" is a light-hearted number sung by Anita and the Shark girls. On film, new lyrics were added to bring in the Shark boys and the bitter and sardonic view of those boys allow them into the story somewhat more than their stage counterparts. The order of songs is switched here also; on stage "Maria" and "Tonight" are consecutive, followed by "America", while in the film the production number comes between the two love songs. The "Dance at the Gym" was extended as well, mostly to accommodate the acrobatics of Russ Tamblyn. The duet "A Boy Like That / I Have a Love" was shortened for the film version, and "One Hand One Heart" is slightly shorter as well. The stage play contains a full-cast ballet sequence, "Somewhere," which was eliminated in the film. Some of the action of the final sequence-the members of both gangs walking away from Tony's body-repeat similar action from the ballet, and the same music is used.

Character. The changes noted above brought about the introduction of a new character: Ice was created to provide a solid successor to Riff for the later part of the film. This character does not appear on stage. Other minor details, such as Consuelo's decision to go blond (and her subsequent decision to go back) and the light-headedness of Rosalia were sacrificed in the changes. Madame Lucia, the proprietress of the bridal shop, is not a character in the stage version. For reasons unknown, Velma and Graziella have switched partners: In the playscript Velma is paired off with Riff.

Dialogue. Much of the original dialogue remains in the film version. Some lines were added for character and story development. The most noticeable changes were caused by an effort to clean up what might have been considered objectionable words and ideas, used on stage in 1957 but still not acceptable for films in 1961.

ANTOINETTE PERRY AWARDS (for the original Broadway production)

• Scenic Design - Oliver Smith

• Choreography - Jerome Robbins

Also nominated:
Carol Lawrence, Best Actress in a Supporting Role in a Musical
Best Conductor/Musical Director, Max Goberman
Best Costume Design, Irene Sharaff

NEW YORK FILM CRITICS

• Best Picture West Side Story

ACADEMY AWARDS

• Best Picture, West Side Story

• Best Supporting Actor, George Chakiris

• Best Supporting Actress, Rita Moreno

• Best Direction, Robert Wise and Jerome Robbins

• Best Cinematography, Color, Daniel L. Fapp

• Best Art Direction, Color, Boris Leven (Art Direction), Victor Gangelin (Set Decoration)

• Best Sound, Fred Hynes, Gordon Sawyer

• Best Scoring of a Musical, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal

• Best Editing, Thomas Stanford

• Best Costumes, Color, Irene Sharaff

• Special Award, Jerome Robbins for his brilliant achievement in the art of choreography

Also nominated:
Best Screenplay, Ernest Lehman

GRAMMY AWARDS

• Best Soundtrack - West Side Story, Johnny Green, Saul Chaplin, Sid Ramin, Irwin Kostal

(That same year, Stan Kenton was awarded a Grammy for Best Jazz Performance, Stan Kenton's West Side Story)

Writers Guild of America

• Best Written Musical, Ernest Lehman (for the adapted screenplay, 1962)

New York Film Critics Circle Award

• West Side Story, Best Film

Laurel Awards

• Cinematography, Color, Daniel L. Fapp

• Female Supporting Performance, Rita Moreno

• Best Musical

Golden Globes (1962)

• Best Motion Picture - Musical

• Best Supporting Actor, George Chakiris

• Best Supporting Actreess, Rita Moreno

Directors Guild of America

• Outstanding Directorial Achievement in Motion Pictures, Jerome Robbins, Robert Wise and Robert E. Relyea (assistant director)

Reed I: Piccolo, Flute, Alto Saxophone, Clarinet in B?, Bass Clarinet
Reed II: Clarinet in E?, Clarinet in B?, Bass Clarinet
Reed III: Piccolo, Flute, Oboe, English Horn, Tenor Saxophone, Baritone Saxophone, Clarinet in B?, Bass Clarinet
Reed IV: Piccolo, Flute, Soprano Saxophone, Bass Saxophone, Clarinet in B?, Bass Clarinet
Reed V: Bassoon

2 Horns in F
3 Trumpets in B? (2nd doubling Trumpet in D)
2 Trombones
Timpani
Percussion (four players) **
Piano / Celesta
Electric Guitar / Spanish Guitar / Mandolin
Violin I - VII
Cello I - IV
Contrabass

** Traps, Vibraphone, 4 Pitched Drums, Xylophone, 3 Bongos, 3 Cowbells, Conga, Timbales, Snare Drum, Police Whistle, Gourd, 2 Suspended Cymbals, Castanets, Maracas, Finger Cymbals, Tambourines, Small Maracas, Glockenspiel, Woodblock, Claves, Triangle, Temple Blocks, Chines, Tam-tam, Ratchet, Slide Whistle

You can start by visiting the archives section of www.westsidestory.com. There, you can learn about the history of West Side Story. And for more information, you can head to Google and type in "West Side Story," "West Side Story and Romeo and Juliet," "West Side Story characters," "West Side Story plot," or "West Side Story awards," etc. Good luck and have fun!

You'll find pictures at westsidestory.com or you can try an image search at Google's Image Search. Please note that all images at The Official West Side Story Site are used with permission from the copyright holders. If you are interested in using any of the photos at this site, please e-mail licensing@leonardbernstein.com for more information.

Here are some sample West Side Story essay topics:

• What are the satirical numbers in the show, and what do they tell us about the Jets and the Sharks?

• What are the different kinds of songs and musical pieces used in the movie?

• What kind of dance numbers are there, and how do they differ from each other?

• How in the opening do the Jets transfer from realistic motion into dance?

• Discuss the Tonight Quintet - how does it show the anticipation of the gangs and Anita, Maria and Tony?

• Arthur Laurents made up the slang that the gangs use. Describe and discuss it.

• Discuss some of the interesting cinematic effects (such as the opening sequence of the city, or the use of color)

• Discuss the relationship of Maria and Anita?

• How do characters' prejudices evolve in the work?

• What do you think happens after Tony is shot?