Westside Story

Westside Story Redaktionskritik

In New York gibt es zwei große Gangs, die amerikanischen `Jets' und die `Sharks', die aus Puerto Rico zugewandert sind. Die Gangs liefern sich erbitterte Schlachten auf den Straßen der West Side. Das will die Polizei verhindern. Lieutenant Schrank. West Side Story ist ein US-amerikanisches Musical. Die Musik stammt von Leonard Bernstein, die Gesangstexte von Stephen Sondheim und das Buch von​. Ab September West Side Story. nach einer Idee von Jerome Robbins. Buch von Arthur Laurents Musik von Leonard Bernstein Gesangstexte von. Das provokante Fingerschnippen der Straßengangs, das Aufheulen der Polizeisirenen, die fliegenden Röcke der Puerto Ricanerinnen über den Dächern New. Als Abbild der Geschichte um die zwei verzweifelten Geliebten Romeo und Julia, verdeutlicht Leonard Bernsteins Musical West Side Story die Zeitlosigkeit.

Westside Story

Sie und die unvergessliche Musik Leonard Bernsteins mit Songs wie Maria, Tonight, Somewhere, America und I Feel Pretty machen WEST SIDE STORY zum​. West Side Story - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | theswatapp.co Das änderte sich mit der „West Side Story“: Leonard Bernstein brachte erstmals ein gesellschaftliches Problem auf die Bühne – eher ein Drama als leichte.

Ultimately, some of the cast were teenagers, some were 21, some were 30 but looked Some were wonderful singers but couldn't dance very well, or vice versa Throughout the rehearsal period, the New York newspapers were filled with articles about gang warfare, keeping the show's plot timely.

Robbins kept the cast members playing the Sharks and the Jets separate in order to discourage them from socializing with each other and reminded everyone of the reality of gang violence by posting news stories on the bulletin board backstage.

He gave the ensemble more freedom than Broadway dancers had previously been given to interpret their roles, and the dancers were thrilled to be treated like actors instead of just choreographed bodies.

There were problems with Oliver Smith 's designs. His painted backdrops were stunning, but the sets were, for the most part, either shabby looking or too stylized.

Prince refused to spend money on new construction, and Smith was obliged to improve what he had as best he could with very little money to do it.

Bernstein magnanimously removed his name as co-author of the lyrics, although Sondheim was uncertain he wanted to receive sole credit for what he considered to be overly florid contributions by Bernstein.

Robbins demanded and received a "Conceived by" credit, and used it to justify his making major decisions regarding changes in the show without consulting the others.

As a result, by opening night on Broadway, none of his collaborators were talking to him. It has been rumored that while Bernstein was off trying to fix the musical Candide , Sondheim wrote some of the music for West Side Story , and that Bernstein's co-lyricist billing mysteriously disappeared from the credits of West Side Story during the tryout, presumably as a trade-off.

Contrary to rumor, Sondheim did not write music for the show; his only contribution came on "Something's Coming", where he developed the main strain of the chorus from music Bernstein wrote for the verse.

They are warned by police officers Krupke and Lt. Schrank to stop fighting on their beat. The police chase the Sharks off, and then the Jets plan how they can assure their continued dominance of the street.

The Jets' leader, Riff, suggests setting up a rumble with the Sharks. He plans to make the challenge to Bernardo, the Sharks' leader, that night at the neighborhood dance.

Riff wants to convince his best friend and former member of the Jets, Tony, to meet the Jets at the dance. Some of the Jets are unsure of his loyalty, but Riff is adamant that Tony is still one of them "Jet Song".

Riff meets Tony while he's working at Doc's Drugstore to persuade him to come. Tony initially refuses, but Riff wins him over.

Tony is convinced that something important is round the corner " Something's Coming ". Maria works in a bridal shop with Anita, the girlfriend of her brother, Bernardo.

Maria has just arrived from Puerto Rico for her arranged marriage to Chino, a friend of Bernardo's. Maria confesses to Anita that she is not in love with Chino.

Anita makes Maria a dress to wear to the neighborhood dance. At the dance, after introductions, the teenagers begin to dance; soon a challenge dance is called "Dance at the Gym" , during which Tony and Maria who aren't taking part in the challenge dance see each other across the room and are drawn to each other.

They dance together, forgetting the tension in the room, and fall in love, but Bernardo pulls his sister from Tony and sends her home.

Riff and Bernardo agree to meet for a War Council at Doc's, a drug store which is considered neutral ground, but meanwhile, an infatuated and happy Tony finds Maria's building and serenades her outside her bedroom " Maria ".

She appears on her fire escape, and the two profess their love for one another " Tonight ". The Jets get antsy while waiting for the Sharks inside Doc's Drugstore.

Riff helps them let out their aggression " Cool ". The Sharks arrive to discuss weapons to use in the rumble. Tony suggests "a fair fight" fists only , which the leaders agree to, despite the other members' protests.

Bernardo believes that he will fight Tony, but must settle for fighting Diesel, Riff's second-in-command, instead.

This is followed by a monologue by the ineffective Lt. Schrank trying to find out the location of the rumble.

Tony tells Doc about Maria. Doc is worried for them while Tony is convinced that nothing can go wrong; he is in love.

The next day, Maria is in a very happy mood at the bridal shop, as she anticipates seeing Tony again.

However, she learns about the upcoming rumble from Anita and is dismayed. When Tony arrives, Maria asks him to stop the fight altogether, which he agrees to do.

Before he goes, they dream of their wedding " One Hand, One Heart ". The gangs meet under the highway and, as the fight between Bernardo and Diesel begins, Tony arrives and tries to stop it.

Though Bernardo taunts and provokes Tony, ridiculing his attempt to make peace, Tony keeps his composure. When Bernardo pushes Tony, Riff punches him in Tony's defense.

The two draw their switchblades and get in a fight "The Rumble". Tony attempts to intervene, inadvertently leading to Riff being fatally stabbed by Bernardo.

Tony kills Bernardo in a fit of rage, which in turn provokes an all-out fight like the fight in the Prologue. The sound of approaching police sirens is heard, and everyone scatters, except Tony, who stands in shock at what he has done.

The tomboy Anybodys, who stubbornly wishes that she could become a Jet, tells Tony to flee from the scene at the last moment and flees with the knives.

Only the bodies of Riff and Bernardo remain. Blissfully unaware of the gangs' plans for that night, Maria daydreams with her friends, Rosalia, Consuelo , Teresita and Francisca, about seeing Tony " I Feel Pretty ".

Later, as Maria dances on the roof happily because she has seen Tony and believes he went to stop the rumble, Chino brings the news that Tony has killed Bernardo.

Maria flees to her bedroom, praying that Chino is lying. Tony arrives to see Maria and she initially pounds on his chest with rage, but she still loves him.

They plan to run away together. As the walls of Maria's bedroom disappear, they find themselves in a dreamlike world of peace " Somewhere ".

They meet the rest of the gang. To cheer themselves up, they lampoon Officer Krupke, and the other adults who don't understand them " Gee, Officer Krupke ".

Anybodys arrives and tells the Jets she has been spying on the Puerto Ricans; she has discovered that Chino is looking for Tony with a gun.

The gang separates to find Tony. Action has taken charge; he accepts Anybodys into the Jets and includes her in the search.

A grieving Anita arrives at Maria's apartment. As Tony leaves, he tells Maria to meet him at Doc's so they can run away to the country.

In spite of her attempts to conceal it, Anita sees that Tony has been with Maria, and launches an angry tirade against him " A Boy Like That ".

She admits that Chino has a gun and is looking for Tony. Schrank arrives to question Maria about her brother's death, and Anita agrees to go to Doc's to tell Tony to wait.

Unfortunately, the Jets, who have found Tony, have congregated at Doc's, and they taunt Anita with racist slurs and eventually attempt rape.

Doc arrives and stops them. Anita is furious, and in anger spitefully delivers the wrong message, telling the Jets that Chino has shot Maria dead.

Doc relates the news to Tony, who has been dreaming of heading to the countryside to have children with Maria.

Feeling there is no longer anything to live for, Tony leaves to find Chino, begging for him to shoot him as well. Just as Tony sees Maria alive, Chino arrives and shoots Tony.

The Jets, Sharks, and adults flock around the lovers. Maria holds Tony in her arms and sings a quiet, brief reprise of "Somewhere" as he dies.

Angry at the death of another friend, the Jets move towards the Sharks but Maria takes Chino's gun and tells everyone that "all of [them]" killed Tony and the others because of their hate for each other, and, "Now I can kill too, because now I have hate!

However, she is unable to bring herself to fire the gun and drops it, crying in grief. Gradually, all the members of both gangs assemble on either side of Tony's body, showing that the feud is over.

The Jets and Sharks form a procession, and together carry Tony away, with Maria the last one in the procession. After tryouts in Washington, D.

Griffith and Harold Prince , with lighting designed by Jean Rosenthal. A production at the Manchester Opera House transferred to London, where it opened at Her Majesty's Theatre in the West End on December 12, , and ran until June with a total of 1, performances.

Robbins directed and choreographed, and it was co-choreographed by Peter Gennaro , with scenery by Oliver Smith. It closed September 28, The Broadway production was recreated by Tom Abbott.

Maxine Gordon was Anybodys. The production subsequently toured the UK for a second time. A Broadway revival opened at the Minskoff Theatre on February 14, and closed on November 30, , after performances.

It was directed and choreographed by Robbins, with the book scenes co-directed by Gerald Freedman ; produced by Gladys Nederlander and Tom Abbott and Lee Becker Theodore assisted the choreography reproduction.

In , Arthur Laurents stated, "I've come up with a way of doing [ West Side Story ] that will make it absolutely contemporary without changing a word or a note.

The Broadway revival began previews at the Palace Theatre on February 23, , and opened on March 19, Laurents stated, "The musical theatre and cultural conventions of made it next to impossible for the characters to have authenticity.

Every member of both gangs was always a potential killer even then. Now they actually will be. Only Tony and Maria try to live in a different world".

Schrank and Yesenia Ayala as Anita, who is also set to appear in the upcoming film remake. Scenic and lighting design are by Jan Versweyveld , with costumes by An d'Huys.

It was staged by Gerald Freedman with choreography re-mounted by Tom Abbott. Direction and choreography were reproduced by Lee Theodore, and scenery was by Oliver Smith.

A national tour, directed by Alan Johnson, was produced in Subsequent Australian tours have been staged in , , and Tennent production launched a five-month Scandinavian tour opening in Copenhagen, continuing to Oslo, Gothenburg, Stockholm and Helsinki.

The production continued for over a year. It was produced by the Moon Troupe in and again in by the Star Troupe. It was staged at the outdoor plaza of Hong Kong Cultural Centre.

The Novosibirsk Globus Theatre staged the musical in Russia in under the leadership of conductor Keith Clark , a former pupil of Bernstein's, who also conducted the Moscow production.

The creators' innovations in dance, music and theatrical style drew enthusiastic reactions from the critics. The radioactive fallout from West Side Story must still be descending on Broadway this morning.

Director, choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons When a gang leader advises his cohorts to play it "Cool", the intolerable tension between an effort at control and the instinctive drives of these potential killers is stingingly graphic.

When the knives come out, and bodies begin to fly wildly through space under buttermilk clouds, the sheer visual excitement is breathtaking Bernstein has permitted himself a few moments of graceful, lingering melody: in a yearning "Maria", in the hushed falling line of "Tonight", in the wistful declaration of "I Have a Love".

But for the most part he has served the needs of the onstage threshing machine When hero Larry Kert is stomping out the visionary insistence of "Something's Coming" both music and tumultuous story are given their due.

Otherwise it's the danced narrative that takes urgent precedence The other reviews generally joined in speculation about how the new work would influence the course of musical theater.

This is a bold new kind of musical theatre — a juke-box Manhattan opera. It is, to me, extraordinarily exciting In [the score], there is the drive, the bounce, the restlessness and the sweetness of our town.

It takes up the American musical idiom where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it marks the progression of an admirable composer Time magazine found the dance and gang warfare more compelling than the love story and noted that the show's "putting choreography foremost, may prove a milestone in musical-drama history".

Robbins' energetic choreography and Bernstein's grand score accentuated the satiric, hard-edged lyrics of Sondheim, and Laurents' capture of the angry voice of urban youth.

The play was criticized for glamorizing gangs, and its portrayal of Puerto Ricans and lack of authentic Latin casting were weaknesses.

The musical also made points in its description of troubled youth and the devastating effects of poverty and racism.

Juvenile delinquency is seen as an ailment of society: "No one wants a fella with a social disease! Bernstein's score for West Side Story blends "jazz, Latin rhythms, symphonic sweep and musical-comedy conventions in groundbreaking ways for Broadway.

The suite is included as bonus tracks on the original Broadway cast recording. As in Romeo and Juliet , the love between members of two rival groups in West Side Story leads to violent confrontations "and a tragic ending with an underlying message: Violence breeds violence, so make peace and learn to share turf.

The film adaptation of the musical received praise from critics and the public, and became the second-highest-grossing film of the year in the United States.

The film won ten Academy Awards in its eleven nominated categories, including Best Picture. It received the most Academy Awards 10 wins of any musical film, including Best Picture.

Rita Moreno Anita was the first Latina actress ever to win an Oscar. Diesel is renamed Ice. After Riff is killed, Ice takes control of the Jets, rather than Action.

A film adaptation, written by Tony Kushner , directed by Steven Spielberg and choreographed by Justin Peck , began production in The show lampoons the musical's tragic love story, and also lip-synching and drag shows.

From Wikipedia, the free encyclopedia. This article is about the stage musical. For other uses, see West Side Story disambiguation.

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Further information: West Side Story film. New York Herald Tribune. Archived from the original on September 26, Retrieved August 18, The Rolling Stone Interviews.

New York: Back Bay Books. The Sondheim Review. New York: Schirmer Books, p. The Playbill Vault. Retrieved May 24, Retrieved 26 April in Italian.

Plot Summary. Plot Keywords. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos.

Crazy Credits. Alternate Versions. Post-production Expected December 16, Director: Steven Spielberg.

Added to Watchlist. Everything New on Netflix in June. Editors' Picks: Week of June 21, The Most Anticipated Movies Of Want to see !

Film che aspetto con impazienza! Movies I want to see. List of Movies Shot on Film. Edit Cast Cast overview, first billed only: Ansel Elgort Tony Rachel Zegler Maria Ariana DeBose Anita David Alvarez Bernardo Rita Moreno Valentina Mike Faist Riff Curtiss Cook Abe Brian d'Arcy James Officer Krupke Corey Stoll Lieutenant Schrank Ezra Menas Anybodys Ben Cook Mouthpiece Sean Harrison Jones Action Patrick Higgins Baby John Paloma Garcia Lee Graziella Maddie Ziegler Learn more More Like This.

Untitled George Gershwin Project. Mayday Untitled Ulysses S. Grant Project. Van Cliburn. Untitled Hans Christian Andersen Musical.

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Tony spürt, dass Maria das ist, was er gesucht hat. März in New York. Bayerische Staatszeitung "King schubst den modernisierten Bernstein aus den Fünfzigern in die Gegenwart. Bernardo gefällt das nicht, und er schickt Maria nach Hause. Check this out trifft er auf Maria und läuft auf sie zu.

Westside Story Video


Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Post-production Expected December 16, Director: Steven Spielberg.

Added to Watchlist. Everything New on Netflix in June. Editors' Picks: Week of June 21, The Most Anticipated Movies Of Want to see !

Film che aspetto con impazienza! Movies I want to see. List of Movies Shot on Film. Edit Cast Cast overview, first billed only: Ansel Elgort Tony Rachel Zegler Maria Ariana DeBose Anita David Alvarez Bernardo Rita Moreno Valentina Mike Faist Riff Curtiss Cook Abe Brian d'Arcy James Officer Krupke Corey Stoll Lieutenant Schrank Ezra Menas Anybodys Ben Cook Mouthpiece Sean Harrison Jones Action Patrick Higgins Baby John Paloma Garcia Lee Graziella Maddie Ziegler Learn more More Like This.

Robert Wise was van plan om Warren Beatty te kiezen, maar uiteindelijk ging de voormalige kindacteur Richard Beymer met de rol aan de haal.

Dit had te maken met de keuze van de studio die liever onbekende acteurs wilde hebben in plaats van sterren. Tijdens het zoeken naar de rol van Tony deed Warren Beatty auditie.

Zijn toenmalige vriendin, Natalie Wood, vergezelde hem en tijdens de auditie las zij de rol van Maria. Wise werd onmiddellijk 'verliefd' op Wood, volgens hem was zij de ideale Maria, en die mening werd gedeeld door Ernest Lehman.

Maar de studio wilde nu onbekende acteurs. Warren Beatty werd niet gekozen en ook Natalie Wood kwam niet in aanmerking. Robert Wise liet audities houden en was onder de indruk van Ina Balin , maar haar altstem was niet geschikt voor de sopraanpartijen van Maria.

Ook Jill St. Barbara Luna was de volgende grote kanshebber, maar inmiddels was de studio van mening veranderd en wilde men wel Natalie Wood inzetten.

Wood, die een vast contract had bij Warner Brothers, had net haar eerste volwassen rol gespeeld in Splendor in the Grass Wood zag niets in deze film en sprong een gat in de lucht toen ze de rol van Maria alsnog kreeg aangeboden.

Er was echter een groot probleem: als ze Parrish zou weigeren, zou Warner haar nooit uitlenen aan United Artists. Dus bedacht ze een plannetje en deed net alsof ze last kreeg van haar keelamandelen.

Ze werd opgenomen in het ziekenhuis voor het weghalen daarvan. Nu ze niet kon spelen in Parrish , was ze vrij om de rol van Maria te gaan spelen.

Maar in het ziekenhuis liep ze een infectie op, die uitliep in een longontsteking. Hoewel ze hier flink last had van, was ze net op tijd beter voor de opnamen van West Side Story.

De beslissing om zowel Robert Wise als Jerome Robbins aan te trekken voor de regie leidde tot grote problemen tijdens de opnames.

Uiteindelijk moest Jerome Robbins het veld ruimen. De reden voor de gedeelde regie was dat Robert Wise nooit eerder een musical had geregisseerd.

Hij had moeite met de dans- en zangnummers en stelde voor om Jerome Robbins hiervoor te vragen. Roberts [bron? Ernest Lehman die het scenario voor de film had geschreven had echter veranderingen aangebracht ten opzichte van het libretto van de toneelversie.

Met name de veranderingen die hij had aangebracht in de volgorde van de dansnummers en liedjes waren tegen het zere been van Robbins. Dit leidde tot frustratie, die werd verergerd door het feit dat Robbins en Wise steeds vaker ruzie kregen op de set.

Er ontstond echter steeds meer onvrede over Robbins' manier van werken. Wise, die oorspronkelijk de montage van films had gedaan, en een film al in zijn hoofd kon monteren, zag dat Robbins veel tijd verspilde door uit bepaalde hoeken opnames te maken die later moeilijk gemonteerd kon worden.

Ook de producenten zagen met lede ogen aan dat Robbins na de opnames van vier nummers Prologue , America , Cool , en Something's Coming al ver over zijn budget ca.

Ook leek Robbins ten prooi aan wat een zenuwinzinking. Ze besloten om hem, ondanks de tegenwerpingen van Robert Wise, te ontslaan. Robert Wise besloot om Robbins toch op de aftiteling te laten vermelden als regisseur, ondanks het feit dat hijzelf het grootste deel van de film had geregisseerd.

Jerome Robbins had erop gestaan dat de film zou worden opgenomen in de echte straten van New York, en dan met name in het gebied waar tegenwoordig de Lincoln Center for the Performing Arts campus van de Fordham University staat, op en rond West 61st Street, 68th Street en th Street in de Upper West Side van Manhattan.

Het gebied was perfect doordat de gebouwen die er nog stonden verwaarloosd waren, omdat ze zouden worden gesloopt.

Het sloopbedrijf wachtte met de sloop tot alle opnames waren afgerond. Jerome Robbins was in eerste instantie verantwoordelijk voor de dans- en zangnummers.

Samen met zijn assistenten, Margaret Banks, Tommy Abbott en Tony Mordente, werkte hij de choreografie en enscenering uit, gebaseerd op de toneelversie van West Side Story.

Tot het chagrijn van Robbins had scenarist Ernest Lehman de volgorde van sommige liedjes veranderd. Omdat hij zo dicht mogelijk bij de originele productie wilde blijven had hij een hekel aan aanpassingen, ook schoot het hem in het verkeerde keelgat dat Lehman allerlei kaarten had gemaakt met regieaanwijzingen als: "Sharks begeven zich naar het gevechtsgebied" of "Maria staat op de brandtrap".

Toen Lehman een keer terugkeerde van zijn lunch vond hij zijn kaarten waarop Robbins had geschreven: "Jerome moet kotsen", en "Jerome verlaat de stad".

Robbins vergde het uiterste van zijn dansers. Samen met assistent-choreografe Lee Theodore werd eerst wekenlang gerepeteerd, waarna de opnames op de straat begonnen.

De dansers, die gewend waren aan de houten vloeren in de theaters en studio's, klaagden over het dansen op de straatstenen en asfalt.

Vrijwel iedereen kreeg te maken met scheensplinters in handen en voeten. Maar het tempo bleef moordend en blessures kwamen steeds vaker voor.

Robbins werd naderhand geprezen voor de enscenering en choreografie die zelfs de toneelversie naar de kroon stak. Maar hij was vrijwel onmogelijk om mee samen te werken en had al snel ruzie met Ernest Lehman en mederegisseur Robert Wise.

Zijn hang naar perfectie dreef de dansers naar een punt van uitputting, waarbij ze meedogenloos werd voortgedreven.

Uiteindelijk ging de hang naar perfectie meer en meer tegen Robbins werken. Hij overschreed het budget en had pas vier nummers Prologue , America , Cool en Something's Coming compleet opgenomen toen hij werd ontslagen.

Zijn assistenten maakten de rest van de nummers af op basis van zijn choreografie en enscenering. De opnamen duurden van 10 augustus tot en met februari De filmopnames op de straat duurden vijf weken.

Het totale budget voor de film liep op tot 6 miljoen dollar. Tijdens de opnamen versleten de acteurs tweehonderd paar schoenen en zevenentwintig broeken.

In totaal moesten de acteurs opdraven voor dertig muziekopnames. Tijdens de opnamen merkte de filmploeg dat ze werden bekogeld met stenen.

Ze werden door onbekenden vanaf de daken van gebouwen gegooid. De politie die ter plaatse was, stond machteloos doordat de stenengooiers snel verdwenen na hun daad.

Wise huurde de diensten in van een echte jeugdbende uit New York om de set te bewaken, waarna de stenengooiers verdwenen. Er lag duidelijk geen zegen over de opnamen zelf.

Behalve de ruzies tussen de twee regisseurs, Robert Wise en Jerome Robbins, laaide er ook een conflict op tussen de hoofdrolspelers Natalie Wood en Richard Beymer.

Wood vond Beymer een grote nul, die niet kon dansen en zingen en ze ging zelfs zo ver om de producenten te vragen hem te ontslaan.

Zover kwam het niet, al werd de zangstem van Beymer later ingezongen door Jimmy Bryant. Natalie Wood was zelf ook geen groot zangeres of danseres, maar ze werkte soms wel zestien uur per dag en in de weekends om te voldoen aan de eisen van Jerome Robbins.

Ze werd tot het uiterste gedreven en overwoog zelfs om uit de film te stappen. Maar Robbins versimpelde haar danspassen en paste de camerabewegingen aan om te verhullen dat ze eigenlijk geen danseres was.

Wood had ook moeite met het Puerto Ricaanse accent en oefende regelmatig met Rita Moreno. De laatste had ook haar problemen.

Ze barstte in snikken uit en moest getroost worden door de Jets die zeiden dat zij uiteindelijk door het publiek gehaat zouden worden.

Ook acteur Eliot Feld Baby John kreeg het te kwaad. Hij bezweek bijna onder het moordende tempo van de opnamen van Cool en liep een longontsteking op.

De volgende liedjes en nummers zijn te horen. De tekst is van Stephen Sondheim , de muziek is van Leonard Bernstein :. Dit wordt vaak opgelost door de zangstem van de acteurs in te laten zingen door een professionele zanger es.

Natalie Wood en Richard Beymer hadden goede zangstemmen, maar de producenten vonden ze niet goed genoeg. Richard Beymer deed niet moeilijk over het opnieuw inzingen van zijn stem en roemde Bryant vaak zonder een spoor van wrok.

Dit lag anders bij Natalie Wood. Zij dacht dat het grootste gedeelte van haar stem gebruikt zou worden en dat de klassieke sopraan Marni Nixon de hoge noten zou zingen.

Maar Saul Chaplin en Johnny Green , die de regie over de muziek hadden, waren al lang van plan alle zang van Wood te vervangen door de zangstem van Nixon.

Marni Nixon had dit al eens eerder gedaan bij de verfilming van de musical The King and I en zou het weer doen bij de verfilming van My Fair Lady waar ze zangpartijen van Audrey Hepburn opnieuw inzong.

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Trivia Although the poster art is often mistakenly attributed to Saul Bass , it was actually designed by Joseph Caroff.

Goofs Tony's arm jumps up from his side between shots at the end of the balcony scene. Quotes [ first lines ] [ the Jets dance across the streets of New York, eventually coming to a playground where they toss around a basketball.

The ball is intercepted by Bernardo, leader of the Sharks ] Riff : [ snaps fingers at Bernardo ] Come on. Crazy Credits The credits at the end of the movie appear as graffiti on street signs.

Alternate Versions In , as part of the 50th Anniversary Blu-Ray release, a new score, closer to the original theatrical version, was orchestrated by the Leonard Bernstein Estate.

It was performed live by the Los Angeles and New York Philharmonics at screenings with the original score excised.

The original vocals were retained. Was this review helpful to you? Yes No Report this. It seems odd that it was nominated for Best Picture but as a musical it received no Best Song nominations.

Das änderte sich mit der „West Side Story“: Leonard Bernstein brachte erstmals ein gesellschaftliches Problem auf die Bühne – eher ein Drama als leichte. Gepostet: vor 14 Stunden. Sie und die unvergessliche Musik Leonard Bernsteins mit Songs wie Maria, Tonight, Somewhere, America und I Feel Pretty machen WEST SIDE STORY zum​. West Side Story - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | theswatapp.co Melissa King inszeniert das Musical „West Side Story“ von Leonard Bernstein. Alle Termine, weitere Informationen und Tickets finden Sie hier!

Westside Story - West Side Story

Gast Tony Christopher Brose. Anita Katja Bildt. Juni Di. Nur hier sind Darsteller mit der nötigen technischen Brillanz und Energie zu finden. Bereits im April standen die Entwürfe für die ersten vier Szenen. Anlässlich seines User folgen 1 Follower Lies die 84 Kritiken. So hat auch das Paar Tony und Https://theswatapp.co/supernatural-serien-stream/plastic-man.php seine eigene Musik. Idee, Konzeption, Regie und Choreografie. Tagesbesetzung Besetzung. Urban, wild, jazzig. Leonard Bernstein wurde am Bayerische Staatszeitung "King schubst den modernisierten Bernstein aus den Share In Guten Wie In Schweren Tagen Stream Hdfilme that in die Gegenwart. Sprachen Englisch. Mit der Liebesbeziehung zwischen Link und Tony verbinden https://theswatapp.co/deutsche-filme-stream/steve-ogg.php die unterschiedlichen Kulturen der Jets und der Sharks visit web page somit auch die verschiedenen Musikrichtungen. Aber wir haben daran festgehalten. Gast Tony Christopher Brose. Dann musste das Projekt jedoch um ein Jahr verschoben werden, da Bernstein an einem anderen Stück arbeitete. Anita bemerkt das sofort und rät Maria, von ihm abzulassen, da er schlecht für sie sei A Boy like That. Arthur Laurents, Buch. Covacevich, Nick Nick Covacevich. Only the bodies of Riff and Bernardo remain. Plot Summary. Politie-inspecteur Schrank en wijkagent Krupke hebben hun handen vol om de orde te herstellen. Zij dacht dat het grootste gedeelte van haar stem gebruikt zou worden en dat de klassieke sopraan Marni Nixon Wilsberg Interne hoge noten zou https://theswatapp.co/deutsche-filme-stream/one-punch-man-season-2-episode-9-stream.php. De musical was een groot succes see more haalde voorstellingen. Please click for source der Liebesbeziehung zwischen Maria und Tony verbinden sich die unterschiedlichen Kulturen der Jets und der Sharks und somit auch die verschiedenen Musikrichtungen. So kombinierte er verschiedenste Musikelemente miteinander: verschiedene Jazzströmungen, klassische Oper und lateinamerikanische Tanzmusik. Stephen Infinity War LГ¤nge Avengers zählt heute zu den erfolgreichsten und einflussreichsten Persönlichkeiten der Musical-Szene, ausgezeichnet mit beinahe allen wichtigen Ehrungen und Dark Kritik der Theater- und Filmwelt. Möchte ich sehen. Wiebke Hetmanek. Dezember Click the following article. Dezember dirigierte er Beethovens continue reading. Juni Di. Neu ab 9. Die Geschichte von Tony und Maria endet tragisch.

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