Andy Warhol once said, “They say that time changes things, but actually you have to change them yourself. ” Two hundred fifty years passed between the original Romeo and Juliet and the premiere of West Side Story on Broadway in 1957. However, time did not change the message of the story, simply the creators unique visions evolved. Shakespeares delivery of the timeless tale of desperate love in his classic Romeo and Juliet proves to only intensify through retelling and modern interpretation. Audiences cherish Romeo and Juliet as one of the most beloved plays of all time from the Elizabethan Age to the present.
Romeo and Juliet have attained the role as the quintessential lovers, and the noun, “a Romeo,” is synonymous with ” lover. ” Shakespeares Romeo and Juliet is closely based on Arthur Brooke’s tale, The Tragicall History of Romeus and Juliet. The language, attitudes, and customs detailed in the play are generally English, in spite of Brookes original Italian setting. In 1949, choreographer Jerome Robbins decided to retell Brooke and Shakespeares romantic tragedy using song and dance, elements of racism and nationalism, and a modern vernacular.
Robbins called upon the musical talents of composer Leonard Bernstein and the words of Arthur Laurents for the script and book. The love story proved to have universal appeal throughout all artistic forms, as it had already been adjusted for opera and ballet. The contemporary adaptation of this timeless classic alters details and deepens the message of hatred, but maintains Brooke and Shakespeares vision. The relationships between the characters, plot sequence, and theme of hatred in West Side Story and Romeo and Juliet intertwine resulting in two similar, yet varying versions of the most famous love story of all time.
The relationships between the characters of West Side Story and Shakespeares Romeo and Juliet are reflective of their respective time periods and the original story. Maria and Juliet represent a slightly practical counterpart to both Tonys and Romeos idealistic nature. Marias brother Bernardo and Juliets cousin Tybalt portray impulsively stubborn and violent characters who both die from wounds inflicted by the male lead. Lieutenant Schrank is similar to Prince Escalus, although Schrank is unfair in his treatment and attitude towards one gang- the Sharks.
Anita and Nurse both take on the role as Juliets confidant and trusted friend, often tampering with their roles as messengers. The mischievously tomboyish Anybodys, who desperately wants to be a Jet, would best fit into the role of Balthasar, since it was she who aided Tony in escaping after the rumble, as well as later informing the other Jets that Tony was being hunted. Finally, the character of Doc appears to fulfill the role of Friar Laurence because both possess somewhat of a peacekeeping nature. Doc attempts to get through to Tony by dramatically pleading, “Why do you live like theres a war on? Why do you kill? ” (2. 5).
All of the characters are consistent to the heart and soul of the story as well as the slightly differing plots. West Side Story maintains Romeo and Juliets intricate and exciting plot using appropriate adaptations to accommodate mid-twentieth-century pop culture. For instance, both artistic forms portray mutual disrespect between the parties. At the dawn of Romeo and Juliet, Capulets cohorts harass Montagues. “I will bite my thumb at them; which is a disgrace to them, if they bear it,” boasts Sampson (1. 1. 42-43). In the opening scene of West Side Story, several members of a Puerto Rican gang insult A-rab, a member of the opposing gang.
It is here where Lieutenant Schrank becomes aware of the potential rumble. In Romeo and Juliet Escalus, Prince of Verona, threatens, “If ever you disturb our streets again, your lives shall pay the forfeit of the peace” (1. 1. 103-104). In West Side Story, Schrank mediates in his own way when he declares, “I got a hot surprise for you: you hoodlums don’t own the streets”(1. 1). Later, another similarity takes place. Riff convinces Tony to attend the dance at the gym just as Benvolio persuades Romeo to attend the Capulets masquerade. Tony confesses to Riff that he’s “reachin’ out for something”(1. ), just what, he doesn’t know. Riff encourages Tony by proposing, “Maybe what you’re waitin’ for’ll be twitchin’ at the dance! ” (1. 2). Shakespeare and director Jerome Robbins choose to draw the audiences attention to the dramatic lovers by giving them unique and eminent qualities. At the Capulet ball in Shakespeares Romeo and Juliet, all of the characters speak in blank verse, but when Romeo and Juliet converse, they speak in sonnet form. Throughout the dance at the gym in West Side Story, both of the gangs members dance a mambo, but Tony and Maria dance a cha-cha.
Bernstein and Robbins translated Shakespeare’s spoken word into modern dance techniques (Gravely 1). Along with the dance atmosphere, the discovery of the doomed love affair is interpreted in a unique fashion in West Side Story, possibly losing passion in the adaptation. Upon the revelation by Juliets kinfolk of her new love for the enemy in both versions, the leading lady responds in similar manners. “Couldn’t you see he’s one of them? ” (1. 4. ) Bernardo asks Maria, his sister. “No; I saw only him,” (1. 4) she replies. Sixteenth-century Juliet’s exclamation was starkly more eloquent:
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. (1. 5. 140-143) “The balcony scene” is mirrored in West Side Story as the “fire escape scene. ” Romeo metaphorically asks Juliet to “arise, fair sun, and kill the envious moon” (2. 2. 4). During the fire escape scene, Tony and Maria sing Leonard Bernsteins s melody, “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. 2. 5) Before drawing apart, both lovers agree to meet the following day. Romeo and Juliet are to convene “by the hour of nine” (2. 2. 182) and Tony and Maria “[at] sundown” (2. 5). The tumultuously intense meeting inspires the young romantic lead to negotiate peace in both versions. Tony, at the request of Maria, tries to stop the violent affairs by pleading, “Bernardo youve got it wrong/ Are you chicken? / You wont understand” (2. 5). Just as Romeo defends his pacific nature by explaining, “O sweet Juliet, / Thy beauty hath made me effeminate / And my temper softened valours steel” (3. 1. 109-111).
Despite Romeo and Tonys courageous efforts, Mercutio assaults Tybalt, which culminates with Riffs attacks on Bernardo. Both episodes result in the deaths of Mercutio and Tybalt, and Riff and Bernardo. Ironically, the peacemaker himself, in both works, murders his beloveds relative: I do protest, I never injured thee But love thee better than thou canst devise, Till thou shalt know the reason of my love: And so, good Capulet, which name I tender As dearly as my own, be satisfied. (3. 1. 71-75) While Romeo is forced into exile for his action, Tony is so horrified by his own behavior he becomes a fugitive and plans to escape with Maria.
While searching for the man who has supposedly killed his beloved, Tony spots Maria, alive and well, as does an enraged Chino. Just as Tony initially fell in love with one glace, Tony perishes with a single shot. Upon discovering Romeo’s death, Juliet ends her own by piercing her chest with her trueloves dagger. Coincidentally, an anguished Maria remains alive, although she cries, “How many can I kill, Chino? How many [bullets do you have left] and still have one bullet left for me? ” (2. 6) The universal theme of hate and close-mindedness presents itself in unique forms in Romeo and Juliet and West Side Story respectively.
Like Romeo and Juliet, Tony and Maria are of adverse parties, and their doomed love is forbidden. Maria, a Puerto Rican, and Tony, a Polish-American, are youthful, fresh-faced and open-minded. They are apathetic to the societal borders in which they are violating. Identical to Romeo and Juliet, love is their sole concern. Both relationships in each individual time period faced severe pressure when their love crossed into a different section of society. Shakespeares Romeo and Juliet experienced long-lasting, deadly feuds between prominent families.
Comparatively, instead of animosity between feuding families (Montagues and Capulets), West Side Story offers prejudice between races, as illustrated between street gangs (Jets and Sharks). The enmity between the two sects was modernized to racism. Just as Romeo and Juliet represent Elizabethan Italian disputes, West Side Story relevantly portrays modern civilizations unscrupulous racism. Tony represents the white indigent immigrant culture, which is being threatened by the intrusion of new immigrant populations that are beginning new lives in America, especially the Puerto Ricans.
The adapted ending in West Side Story involves Marias survival throughout the play, contrary to Shakespeares version in which Juliet commits suicide upon the learning of her soul mates death. This altered ending clarifies the social message West Side Story delivers to its audience. Perhaps Marias survival signifies a poignant reminder of the responsibility everyone shares in the tragedy that befell her. Unlike Romeo and Juliet, Tony and Maria were not “star-crossed” lovers whose destiny was determined by fate, but rather victims of the intolerance, misunderstanding, and mistrust that seem to be ever-present in human society (Gravely 1).
The relationships between the characters, plot sequence, and theme of hatred in West Side Story and Romeo and Juliet intertwine resulting in two parallel yet slightly differing representations of the most famous love story of all time. Shakespeare presents an entertaining, witty and sometimes sexually provocative portrayal of Arthur Brookes tale. Robbins presentation of the celebrated classic paints the awful truths of racism and irrational violence through dance, song, and music. Romeo and Juliets blind love is the force that unites two enemies, just as the eternal human spirit brings all people of the Earth united as one.
Contrast of Romeo and Juliet and West Side Story Three Hundred Fifty Years of Blind Love: A Contraposition of Shakespeare and Robbins Romeo and Juliet Andy Warhol once said, “They say that time changes things, but actually you have to change them yourself. ” Two hundred fifty years passed between the original Romeo and Juliet and the premiere of West Side Story on Broadway in 1957. However, time did not change the message of the story, simply the creators unique visions evolved. Shakespeares delivery of the timeless tale of desperate love in his classic Romeo and Juliet proves to only intensify through retelling and modern interpretation.
Audiences cherish Romeo and Juliet as one of the most beloved plays of all time from the Elizabethan Age to the present. Romeo and Juliet have attained the role as the quintessential lovers, and the noun, “a Romeo,” is synonymous with ” lover. ” Shakespeares Romeo and Juliet is closely based on Arthur Brooke’s tale, The Tragicall History of Romeus and Juliet. The language, attitudes, and customs detailed in the play are generally English, in spite of Brookes original Italian setting.
In 1949, choreographer Jerome Robbins decided to retell Brooke and Shakespeares romantic tragedy using song and dance, elements of racism and nationalism, and a modern vernacular. Robbins called upon the musical talents of composer Leonard Bernstein and the words of Arthur Laurents for the script and book. The love story proved to have universal appeal throughout all artistic forms, as it had already been adjusted for opera and ballet. The contemporary adaptation of this timeless classic alters details and deepens the message of hatred, but maintains Brooke and Shakespeares vision.
The relationships between the characters, plot sequence, and theme of hatred in West Side Story and Romeo and Juliet intertwine resulting in two similar, yet varying versions of the most famous love story of all time. The relationships between the characters of West Side Story and Shakespeares Romeo and Juliet are reflective of their respective time periods and the original story. Maria and Juliet represent a slightly practical counterpart to both Tonys and Romeos idealistic nature. Marias brother Bernardo and Juliets cousin Tybalt portray impulsively stubborn and violent characters who both die from wounds inflicted by the male lead.
Lieutenant Schrank is similar to Prince Escalus, although Schrank is unfair in his treatment and attitude towards one gang- the Sharks. Anita and Nurse both take on the role as Juliets confidant and trusted friend, often tampering with their roles as messengers. The mischievously tomboyish Anybodys, who desperately wants to be a Jet, would best fit into the role of Balthasar, since it was she who aided Tony in escaping after the rumble, as well as later informing the other Jets that Tony was being hunted. Finally, the character of Doc appears to fulfill the role of Friar Laurence because both possess somewhat of a peacekeeping nature.
Doc attempts to get through to Tony by dramatically pleading, “Why do you live like theres a war on? Why do you kill? ” (2. 5). All of the characters are consistent to the heart and soul of the story as well as the slightly differing plots. West Side Story maintains Romeo and Juliets intricate and exciting plot using appropriate adaptations to accommodate mid-twentieth-century pop culture. For instance, both artistic forms portray mutual disrespect between the parties. At the dawn of Romeo and Juliet, Capulets cohorts harass Montagues. “I will bite my thumb at them; which is a disgrace to them, if they bear it,” boasts Sampson (1. . 42-43). In the opening scene of West Side Story, several members of a Puerto Rican gang insult A-rab, a member of the opposing gang. It is here where Lieutenant Schrank becomes aware of the potential rumble. In Romeo and Juliet Escalus, Prince of Verona, threatens, “If ever you disturb our streets again, your lives shall pay the forfeit of the peace” (1. 1. 103-104). In West Side Story, Schrank mediates in his own way when he declares, “I got a hot surprise for you: you hoodlums don’t own the streets”(1. 1). Later, another similarity takes place.
Riff convinces Tony to attend the dance at the gym just as Benvolio persuades Romeo to attend the Capulets masquerade. Tony confesses to Riff that he’s “reachin’ out for something”(1. 2), just what, he doesn’t know. Riff encourages Tony by proposing, “Maybe what you’re waitin’ for’ll be twitchin’ at the dance! ” (1. 2). Shakespeare and director Jerome Robbins choose to draw the audiences attention to the dramatic lovers by giving them unique and eminent qualities. At the Capulet ball in Shakespeares Romeo and Juliet, all of the characters speak in blank verse, but when Romeo and Juliet converse, they speak in sonnet form.
Throughout the dance at the gym in West Side Story, both of the gangs members dance a mambo, but Tony and Maria dance a cha-cha. Bernstein and Robbins translated Shakespeare’s spoken word into modern dance techniques (Gravely 1). Along with the dance atmosphere, the discovery of the doomed love affair is interpreted in a unique fashion in West Side Story, possibly losing passion in the adaptation. Upon the revelation by Juliets kinfolk of her new love for the enemy in both versions, the leading lady responds in similar manners. “Couldn’t you see he’s one of them? ” (1. 4. ) Bernardo asks Maria, his sister. “No; I saw only him,” (1. ) she replies. Sixteenth-century Juliet’s exclamation was starkly more eloquent: 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. (1. 5. 140-143) “The balcony scene” is mirrored in West Side Story as the “fire escape scene. ” Romeo metaphorically asks Juliet to “arise, fair sun, and kill the envious moon” (2. 2. 4). During the fire escape scene, Tony and Maria sing Leonard Bernsteins s melody, “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. (2. 5) Before drawing apart, both lovers agree to meet the following day. Romeo and Juliet are to convene “by the hour of nine” (2. 2. 182) and Tony and Maria “[at] sundown” (2. 5). The tumultuously intense meeting inspires the young romantic lead to negotiate peace in both versions. Tony, at the request of Maria, tries to stop the violent affairs by pleading, “Bernardo youve got it wrong/ Are you chicken? / You wont understand” (2. 5). Just as Romeo defends his pacific nature by explaining, “O sweet Juliet, / Thy beauty hath made me effeminate / And my temper softened valours steel” (3. 1. 109-111).
Despite Romeo and Tonys courageous efforts, Mercutio assaults Tybalt, which culminates with Riffs attacks on Bernardo. Both episodes result in the deaths of Mercutio and Tybalt, and Riff and Bernardo. Ironically, the peacemaker himself, in both works, murders his beloveds relative: I do protest, I never injured thee But love thee better than thou canst devise, Till thou shalt know the reason of my love: And so, good Capulet, which name I tender As dearly as my own, be satisfied. (3. 1. 71-75) While Romeo is forced into exile for his action, Tony is so horrified by his own behavior he becomes a fugitive and plans to escape with Maria.
While searching for the man who has supposedly killed his beloved, Tony spots Maria, alive and well, as does an enraged Chino. Just as Tony initially fell in love with one glace, Tony perishes with a single shot. Upon discovering Romeo’s death, Juliet ends her own by piercing her chest with her trueloves dagger. Coincidentally, an anguished Maria remains alive, although she cries, “How many can I kill, Chino? How many [bullets do you have left] and still have one bullet left for me? ” (2. 6) The universal theme of hate and close-mindedness presents itself in unique forms in Romeo and Juliet and West Side Story respectively.
Like Romeo and Juliet, Tony and Maria are of adverse parties, and their doomed love is forbidden. Maria, a Puerto Rican, and Tony, a Polish-American, are youthful, fresh-faced and open-minded. They are apathetic to the societal borders in which they are violating. Identical to Romeo and Juliet, love is their sole concern. Both relationships in each individual time period faced severe pressure when their love crossed into a different section of society. Shakespeares Romeo and Juliet experienced long-lasting, deadly feuds between prominent families.
Comparatively, instead of animosity between feuding families (Montagues and Capulets), West Side Story offers prejudice between races, as illustrated between street gangs (Jets and Sharks). The enmity between the two sects was modernized to racism. Just as Romeo and Juliet represent Elizabethan Italian disputes, West Side Story relevantly portrays modern civilizations unscrupulous racism. Tony represents the white indigent immigrant culture, which is being threatened by the intrusion of new immigrant populations that are beginning new lives in America, especially the Puerto Ricans.
The adapted ending in West Side Story involves Marias survival throughout the play, contrary to Shakespeares version in which Juliet commits suicide upon the learning of her soul mates death. This altered ending clarifies the social message West Side Story delivers to its audience. Perhaps Marias survival signifies a poignant reminder of the responsibility everyone shares in the tragedy that befell her. Unlike Romeo and Juliet, Tony and Maria were not “star-crossed” lovers whose destiny was determined by fate, but rather victims of the intolerance, misunderstanding, and mistrust that seem to be ever-present in human society (Gravely 1).
The relationships between the characters, plot sequence, and theme of hatred in West Side Story and Romeo and Juliet intertwine resulting in two parallel yet slightly differing representations of the most famous love story of all time. Shakespeare presents an entertaining, witty and sometimes sexually provocative portrayal of Arthur Brookes tale. Robbins presentation of the celebrated classic paints the awful truths of racism and irrational violence through dance, song, and music. Romeo and Juliets blind love is the force that unites two enemies, just as the eternal human spirit brings all people of the Earth united as one.