Quite aside from the depth of the insights made by the author Nigel Simeone on nearly every page, the reason why this book represents a significant new contribution to the literature on the Broadway musical is that it is much more thorough in its discussion of primary resources than almost any other study I can think of. The result is that we gain a completely new understanding of its chosen focus, Bernstein's classic West Side Story.
One might not immediately think that another study of West Side Story was needed. After all, there are numerous articles on the piece that discuss it in sociological terms – especially as concerns race and gender. But it's alarming to realise that aside from small chapters on the work by Geoffrey Block and Joseph Swain in their general studies of musical theatre, nobody has bothered to go back to the original sources before now. That's all the more shocking given the fact that most people consider the show to be Bernstein's masterpiece. And, as Simeone amply demonstrates, the composer's autograph manuscripts have much to tell us about the definitive version of the score.
Simeone's first chapter addresses Bernstein's work in the theatre leading up to West Side Story. With generous helpings from contemporary reviews, we hear about Bernstein's debut with the New York Philharmonic, the success of his ballet Fancy Free and the impact made by On the Town and Candide. Simeone discusses the composer's early years, including his friendship with the lyricist Adolph Green and his activities during his education at Harvard. I was perhaps a little uncomfortable with the teleological viewpoint suggested by the image of Wonderful Town 'look[ing] forward to West Side Story' (p.11) but the author's analyses of this show are as potent as the rest of the book.
What's especially refreshing about this study is Simeone's no-nonsense approach. Considering that the discussion of autograph manuscripts is not something that sets everyone's hair on end (present company excepted), the author's prose is compellingly readable. Even the non-musicologist will be excited by the discussion of the musical's genesis in Chapter 2. Newspaper articles are complemented by archival material to piece together the show's long gestation period, from the late 1940s to 1957. Simeone reproduces early outlines, letters and diaries, and also draws on personal interviews with the lyricist, Stephen Sondheim, and one of the orchestrators, Sid Ramin. Additional sources of information include the unpublished memoirs of Irwin Kostal, the other orchestrator, and previously-unseen scenarios. The choice of the conductor, the auditions and the rehearsal period are amongst the issues discussed, and we emerge with an admirably well-rounded view of what went on behind the scenes.
Chapter 3 is, for me, the highlight. The exploration of cut numbers such as 'Mix!', 'This Turf is Ours', the First Mambo and Huapango, and the trio 'Like Everybody Else', goes far beyond what has been attempted before. The revisions of the opening scene of the show turn out to be especially extensive, and Simeone goes into the long history of the music for the song 'America', which derives from the unproduced ballet Conch Town (1941). The collaborative nature of the composition of the ballet scene – between Bernstein and the choreographer Jerome Robbins – is also highly illuminating. Overall, the chapter proves that persuasive new interpretations can be derived by examining primary source material – something that musical theatre scholars have, with some exceptions, often been reluctant to admit.
Simeone then moves on in Chapter 4 to give his interpretation of the score. Again, the discourse is both riveting and easy to digest. We learn about the accidental nature of the use of the tritone in the score; the orchestra; the process of orchestration; and the function of each musical number. What's great is that the discussion is both informative and personal, mixing new discoveries with a master's understanding of how the score works. Students and scholars alike will find this chapter renders the study an indispensable handbook on the show. My only small misgivings are about the section on 'The Question of Genre'. It seems to me that from the Greeks onwards, genre studies have always been inconsistent, since genres can only be retrospectively perceived (otherwise there isn't a 'generic movement' to form a 'genre') and are therefore based on broad gestures that ultimately tell us very little about the actual content of individual works. And taxonomy is such a subjective sport that I'm not convinced it takes us down a fruitful path for discussion – though perhaps what really needs to happen is a proper discussion on this issue in musical theatre scholarship.
The penultimate chapter of Simeone's book allows us to turn the pages of history and see how West Side Story was received in its original Washington, Philadelphia, Broadway, Manchester and London stagings, as well as the first return of the show to New York in 1960. The inability of the drama critics to find language with which to discuss Bernstein's score is particularly intriguing to me – and even Howard Taubman, the New York Times's music critic, wasn't overly impressed ('Where it counts most, Leonard Bernstein's score is disappointing'). I also particularly enjoyed the short clips from the Manchester (UK) reviews – somehow, one doesn't often think of Chita Rivera in Manchester, but the critics seem to have loved the piece.
Finally, Simeone gives perhaps the most detailed insight into the creation of a Broadway cast recording I've ever read, and very welcome it is, too. This final chapter not only recounts the blood, sweat and tears – which is something we'd probably expect to hear about – that went into the recording (which is included on the accompanying CD), but also, more significantly, the changes made to the original 'performance' to make it suitable for recording purposes. Goddard Lieberson, the esteemed producer, emerges as the hero of this project, but it's also fascinating to read a clarification of Stephen Sondheim's role in the decision-making for the recording, which took place during Bernstein's absence on a conducting trip.
Overall, the only real criticism one could make of the volume is that it isn't long enough – and that's because one longs for it to go on and on. Some will be disappointed that the famous movie version doesn't come under scrutiny (for reasons of space), and there's also clearly scope for the author to explore the scholarly reception of the show alongside the initial critical (journalistic) reception. But it's clear that Simeone is by no means finished in his foray into Bernstein, and on the basis of this stimulating work on West Side Story I for one can't wait for the next instalment.
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Musical Theatre Review: Carousel in the West End
Musical Theatre Review: A Little Night Music in the West End
CD Review: Sepia Records' February releases, including Bless the Bride
Musical Theatre Review: Cole Porter's The New Yorkers, revived in London