FREE ESSAY ON WEST SIDE STORY &ROMEO &JULIET

WEST SIDE STORY &ROMEO &JULIET

Romeo & Juliet vs. West Side Story
What would Romeo and Juliet be like if Juliet hadn't died? What if Paris killed Romeo,
instead of vice versa? What if instead of occurring several centuries ago, it took place
on the streets of New York City during the 1950s, with a bunch of fresh-faced youths
posing as street toughs and dancing and singing their hearts out? Well, just take a look
at West Side Story, and you will have your answers. It is impossible for anyone familiar
with both texts to not note the obvious major similarities between the two plays. From
the opening scenes in both, up through the rumble in West Side Story/death of Mercutio in
Romeo and Juliet, the plays mirror each other (Poelstra). It isn't until the last part of
West Side Story, where Tony, our modern-day Romeo, dies and Maria, Tony's Juliet, doesn't
(unlike the two star-crossed lovers of Shakespeare's work), that the major difference
between the two works becomes apparent.
Granted, instead of tension between feuding families, West Side Story offers prejudice
between races, as illustrated between street gangs, the Jets and Sharks. Some of the
characters in West Side Story are carbon copies of those in Romeo and Juliet: Maria
(Juliet), Tony (Romeo), Bernardo (Tybalt), Lt. Schrank (Prince), and Anita (Nurse).
Others appear to be a composite of characters, namely Riff, a combination of Benvolio and
Mercutio, and Doc, who appears to fulfill the role of Friar Laurence (possessed somewhat
of a peacekeeping nature: You couldn't play basketball?, he asks, when informed of their
upcoming war council [Laurents 57]) yet, at the same time, it is implied in the film
version, not the play that he is a pharmacist, and there was, after all, an apothecary in
Romeo and Juliet . The tomboyish Anybodys, a Jet wannabe, would best fit into the role of
Balthasar (although Doc's character fits into this role marginally as well), since it was
she who aided Tony in escaping after the rumble, which resulted in the deaths of Riff and
Bernardo, as well as later informing the other Jets that Chino, the Paris of the Sharks,
had a gun and was hunting down Tony. 
In the opening act of Romeo and Juliet, Sampson and Gregory, servants of Capulet, harass
Balthasar and Abraham, servants to the Montagues. I will bite my thumb at them; which is
a disgrace to them, if they bear it, boasts Sampson (I.i.48-50). In the opening scene of
West Side Story, several Sharks, the Puerto Rican gang led by Bernardo, harass A-rab
(notice the similarity in name to Abraham), a white dude, a Jet, and therefore, an enemy
of the immigrants. In no time at all, other Jets, led by Riff, rush to A-rab's side. No
words are exchanged between the gangs, since it is, after all, a musical, and they
basically just jump around in exaggerated fashion. Nevertheless, the scene, like the
opening of Romeo and Juliet, sets the stage for the remainder of the production. 
It is here where Lt. Schrank and his faithful compatriot, Officer Krupke, happen on the
scene to break apart a potential rumble just like Escalus, Prince of Verona, did in Romeo
and Juliet: If ever you disturb our streets again, your lives shall pay the forfeit of
the peace (I.i.103-4). Or, as Schrank would phrase it, I got a hot surprise for you: you
hoodlums don't own the streets (Laurents 6).
Following the altercation between the gangs, it is decided by Riff that the time has come
to take care of the Puerto Ricans once and for all, clean em up in one all-out fight!
(Laurents 10). Riff will challenge them at the dance at the gym later that night. But, he
wants his old pal Tony, who founded the Jets with him, in as his Lieutenant (Laurents
12). So, he goes to fill in Tony, who has made a sincere effort to forsake the gang life
by becoming gainfully employed at Doc's candy store. This is where another parallel
occurs: just as Benvolio talks Romeo into attending the ball at the Capulets, Riff talks
Tony into attending the dance at the gym.
Prior to the dance, a sweet-faced seventeen-year-old gal, fresh up from Puerto Rico,
prepares for her first big social event in America. Here, even the exact act and scene
(I/iii) are the same as in Romeo and Juliet, where Lady Capulet and the Nurse speak to
Juliet of her possible impending marriage to Paris.
The dance, where Tony and Maria first meet, is comparable to the Capulets' ball, where
Romeo and Juliet first encounter one another. At the Capulets' ball, it seems to be Romeo
who falls in love at first sight, since he spots her before she eyes him: What lady is
that, which doth enrich the hand of yonder knight? (I.v.44-5). After exchanging a few
words, Juliet becomes smitten with the loquacious youth, yet she doesn't reveal this
until the balcony scene. Tony and Maria, on the other hand, notice each other at the very
same moment, falling head over heals in love. Shortly thereafter, Bernardo is upon them
in an icy rage (Laurents 31), telling Tony to Go home, American. Bernardo then reveals
that Maria is his sister. Couldn't you see he's one of them? Bernardo asks Maria
(Laurents 32). No; I saw only him, she replies. Juliet's exclamation at such a revelation
was much more poetic:
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy. (I.v.140-3)
Bernardo orders Maria to go home, after which he approaches Tony, who is still
intoxicated by the lingering image of his new-found love (Laurents 35). Riff sidelines
Bernardo, mentioning the possibility of a rumble. They agree to meet at Doc's candy store
at midnight for a "war council".
Act Two, Scene Two, of Romeo and Juliet, better known as the balcony scene, is reflected
in West Side Story in Act One, Scene Five, or the fire escape scene. Romeo refers to
Juliet as the sun (II.ii.3), calling for her to rise . . . and kill the envious moon
(II.ii.4). During the fire escape scene, Tony and Maria sing the song Tonight:
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. (Laurents 42)
This moment exemplifies the Shakespearean impact perhaps better than any other in West
Side Story, since even the Bard's imagery is swiped for use in song. Not to mention,
before parting, both parties agree to meet the following day: Romeo and Juliet at the
hour of nine (II.ii.169) and Tony and Maria at sundown (Laurents 44). 
In scene seven of Act One, Tony meets Maria at the bridal shop. Anita catches them
together. You will not tell? Maria inquires. Tell what? Anita replies. How can I hear
what goes on twelve feet over my head? (Laurents 76); Anita is supportive of their love,
as is Juliet's nurse, who acts as an intermediary between the young lovers. Following
Anita's departure, Tony and Maria go through a mock wedding ceremony, mirroring the real
one Romeo and Juliet prepare to undertake, aided by Friar Laurence. Both these instances
occur before true tragedy strikes. 
The beginning of act three in Romeo and Juliet features the death of Mercutio by the hand
of Tybalt, who, in turn, is slain by Romeo. Likewise, the rumble under the highway in
West Side Story culminates with the deaths of Riff and Bernardo (Laurents 94). In both
instances, the young romantic lead tries to talk the others out of harming one another.
Tony, at the entreaty of Maria, tries to stop the violent proceedings, only to be taunted
by Bernardo. It doesn't take guts if you have a battle. But we haven't got one, 'Nardo,
Tony smiles (Laurents 91). The taunting escalates, despite Tony's valiant efforts, and
Riff soon hauls off against Bernardo, just as Mercutio had drawn against Tybalt. Both
episodes result in deaths: Mercutio and Tybalt; Riff and Bernardo.
Following the rumble, the similarities between West Side Story and Romeo and Juliet
dwindle. One similarity would be the Nurse's grief for Tybalt (III.ii.61-63) paralleling
that of Anita's for Bernardo (Laurents 127), but most interesting of all would be the
manner in which Romeo and Tony learn of the deaths of Juliet and Maria, respectively.
In Romeo and Juliet, Balthasar delivers the news to Romeo regarding the death of Juliet:
Her body sleeps in Capel's monument, and her immortal part with angels lives (V.i.18-19).
Romeo then approaches the Apothecary: . . . let me have a dram of poison, such
soon-speeding gear as will disperse itself through all the veins that the life-weary
taker may fall dead . . . (V.i.59-62). Doc, likewise, is the provider of poison to Tony,
for it is he who delivers the news (falsified by Anita) of Maria's death, along with the
money Tony and Maria were going to use to flee the city (Laurents 138). That was no
customer upstairs, just now, Doc tells him. That was Anita. (Pause) Maria is dead. Chino
found out about you and her and shot her. 
Come, cordial and not poison, go with me to Juliet's grave; for there must I use thee,
speaks Romeo (V.i.85-6). Tony pursues the same means to an end, only he expresses it in
layman's terms: Chino? Chino? Come and get me, too, Chino (Laurents 139).
While roaming the streets, searching for Chino, Tony spots Maria, alive and well. Just as
they are about to embrace, a shot rings out, and Tony falls via Chino's violent hand,
Maria catching him as he stumbles (Laurents 141). However, whereas Juliet, upon
discovering Romeo's death, ends her life by falling upon Romeo's dagger (V.iii.169). An
anguished Maria doesn't end hers, although she speaks of it with Chino's gun in hand, she
asks, How many can I kill, Chino? How many and still have one bullet left for me?
(Laurents 143).
Whereas Romeo and Juliet's love was one intended to last an eternity, attaining a
spiritual realm with their deaths, that of Tony and Maria was restricted to the material
world, ending with Tony's death and . . . forever lost (Poelstra). Even so, the
relationships in both plays reflect the intolerance, misunderstanding, and mistrust that
seem to be ever-present in human society. Perhaps this makes the themes of love and fear,
that abound in both plays, all the more relevant to our modern, commercialized,
technological and, to some extent, still segregated society, and, therefore, a more
accessible vehicle for today's audience (Poelstra). 
West Side Story allows the basic elements of a story four centuries old to be retold in a
fairly modern-day setting (after all, street gangs are more prominent now than ever
before). A retelling that has garnered its own wide audience appeal over the past four
decades, showing that certain tales can stand the test of time more than once, provided
the content and context effectively reflects the world within which it occurs.
Bibliography
Works Cited
Laurents, Arthur. West Side Story. (A musical, based on a conception 
of Jerome Robbins; music by Leonard Bernstein; lyrics by 
Stephen Sondheim.) NY: Random House, 1966.
Poelstra, James. Romeo and Juliet vs. West Side Story. 
(17 July 97).
Shakespeare, William. Romeo and Juliet. The Complete Works of William 
Shakespeare, Volume I. Ed. W. G. Clark and W. Aldis Wright. NY: 
Nelson Doubleday, Inc., 247-277.