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Theatre / West Side Story

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"There's a place for us,
A time and place for us.
Hold my hand and we're halfway there.
Hold my hand and I'll take you there
Somehow, someday, somewhere!"

A 1957 Broadway musical with music composed by Leonard Bernstein and lyrics written by Stephen Sondheim, and its 1961 film adaptation. A Setting Update adaptation of William Shakespeare's Romeo and Juliet.

It may seem Older Than Steam, with more than a few elements that you may recognize from other works. It is also a great example of "Seinfeld" Is Unfunny, with many modern audiences not understanding why it was such a groundbreaking musical in its time. It is recognized as the leader in using dance to further the plot, thanks to the choreography of Jerome Robbins, and is also recognized for portraying minority characters (relatively) positively, using vulgar language and slang, and not being a particularly feel-good musical.

Two gangs, one white native born American (Jets) and the other Puerto Rican immigrant (Sharks), are fighting over territory on Manhattan's West Side when Tony, former co-founder of the Jets, falls in love with Maria, the younger sister of the Sharks' leader Bernardo. Even worse, they fall in love on the very night the two gangs decide to end their feud in one final battle. Tony manages to persuade the two gangs to reduce it to a "fair fight" of one-on-one fisticuffs, but when Maria tells Tony to stop the fight altogether, his attempt to intervene results in the leader of the Jets, his best friend Riff, getting knifed to death by Bernardo. In a fit of rage, Tony then kills Bernardo in return.


Act Two begins with Maria finding out about Bernardo's death from her implied fiancé, Chino, who then vows to kill Tony. Tony turns up and they spend the night together. Bernardo's girlfriend Anita shows up, and Tony escapes, with a plan to escape to the country. Anita, despite hating Tony for killing Bernardo, agrees to tell Tony to stay at the drugstore he works at until Maria arrives. When she gets there however, she is nearly raped by the Jets that have gathered there. In a fit of rage, she says that Maria is dead, killed by Chino. Tony's boss tells Tony this, and he runs out into the street, calling for Chino to "kill him, too." Maria and Tony meet each other in the street, but before they can properly embrace, Chino steps from the shadows and kills Tony. Grief-stricken Maria denounces both sides of the conflict for their part in Tony's death, and for how "we all killed him," "not with guns, not with knives, but with hate." Thoroughly heartbroken, the Jets and Sharks together carry out Tony's body. The End.


Notable for some of the most famous songs in musical theater, such as "Tonight," "America" and "I Feel Pretty", with music by Leonard Bernstein and lyrics by Stephen Sondheim. The movie adaptation, directed by Robert Wise and Jerome Robbins and starring Natalie Wood as Maria, won a whopping 10 Academy Awards, including Best Picture.

In 2018, Steven Spielberg announced that he'd begun casting another film adaptation, a long-time passion project that he'd finally gotten the rights for. Ansel Elgort has been cast as Tony, while newcomer Rachel Zegler note  will portray Maria. This remake will reportedly be more mindful towards ethnic accuracy and representation than the original, with all of the Hispanic roles being filled by actors of Latino descent.

This production contains examples of:

  • Accidental Murder: In the fistfight-that-wasn't, Riff ends up accidentally killed by Bernardo. In a fit of rage, Tony then quite-on-purposefully kills Bernardo.
  • Actually Pretty Funny:
    • Riff laughs at Bernardo's request for Lieutenant Schrank to translate his dressing-down into Spanish.
    • At the dance, when Glad Hands asks for the Jets and Sharks to get into two circles - "boys on the outside, and girls on the outside" - one of the Jets quips, "Hey, where are you?" Glad Hand laughs at this.
    • When Riff orders Anybodys out of Doc's, she leaves, but not without pushing some of the Sharks around. While some of them look shocked, Chino and a couple of the others laugh.
  • Adults Are Useless:
    • The adults fail to do anything at all to stop the conflict between the Jets and the Sharks. It's lampshaded by the stage directions at the end:
      The adults — DOC, SCHRANK, KRUPKE, and GLAD HAND — stand alone, useless.
    • This is pretty much the whole point of the song "Office Krupke," where the Jets mock the attitudes of the adults around them as to why the kids in the streets are all troublemakers.
  • Affably Evil: Both Riff and Bernardo are given several Pet the Dog moments, despite being gang leaders.
  • Age Lift: Juliet's presumably older nurse is now Maria's "same age" friend Anita.
  • All There in the Manual: The Pocket Books novelization from 1961 gives almost all of the characters last names that were not provided in the play or movie (for example, Maria's last name is Nunez and Tony's is Wyzek).
  • Ambiguously Gay: Anybodys, whose transmasculine qualities can be played as a tomboy, a Butch Lesbian, or a trans man, depending on the production.
  • Angry Mob Song: "Quintet" and the latter half of the "Jet Song".
  • Arranged Marriage: Maria's family expects her to marry Chino, even though she feels nothing for him.
  • Artistic Title:
    • For the film. A set of abstract graphics, created by Saul Bass, eventually fade into a shot of the Lower Manhattan skyline, followed by a series of overhead aerial shots of NYC streets and buildings.
    • There's also a five-minute-long Creative Closing Credits sequence, also by Saul Bass, depicting the credits on wall graffiti and street signs.
  • Asshole Victim: Riff and Bernardo could both be seen as this.
  • Astonishingly Appropriate Interruption: Early in the play, we have this exchange between Riff and Tony.
    Riff: Buddy boy, I am a victim of disappointment in you.
    Tony: End your suffering, little man. Why don't you pack up your gear and clear out?
    Riff: Because your ma is hot for me.
    (Tony grabs his arm and twists it.)
    Riff: No! Because I hate living with my buggin' unclenote  uncle UNCLE!note 
    (Tony releases him.)
  • Attempted Rape:
    • Anita is attacked and nearly raped by the Jets when she heads to Doc's to tell Tony to wait for Maria. This angers her and drives her to hate them badly enough that when Doc returns and stops it, Anita tells them that Chino shot Maria, which sets up the Downer Ending.
    • In the stage production, this may be played as harassment without obvious intention of sexual assault, and Anita gets offended by catcalls rather than an actual attempted rape.
    • Alternatively in the stage production, sometimes Doc arrives too late to stop the Jets, and interrupts them in the act.
  • Bad Cop/Incompetent Cop: Schrank's the bad cop, a racist who wants the Sharks run out of town but isn't exactly crazy about the Jets either, and who cares most of all about getting a promotion. Krupke's the incompetent cop, never once doing anything successfully.
  • Balcony Wooing Scene: Being an adaptation of Romeo and Juliet, of course there's a "Balcony Scene" for Tony and Maria. Due to the urban Setting Update, Maria's balcony is actually a window opening onto the fire escape. He climbs up, they begin a duet, and the world fades away.
  • Ballroom Blitz: Very nearly happens, but the cops break it up.
  • Beta Couple: Bernardo and Anita.
  • Beware the Nice Ones: Tony and Chino both have stronger work ethics and are generally nicer people than the rest of their respective gangs... but mess with their respective best friends Riff and Bernardo at your own risk.
  • Blond, Brunette, Redhead: The three Jets girlfriends who dance in "Cool".
  • Bowdlerize: This trope mostly appears in the movie version, as the infamous Hays Code was still in effect, though slightly less so in 1961.
    • Anita's lines in "Tonight" are changed from "He'll walk in hot and tired, so what / No matter if he's tired, as long as he's hot" to "He'll walk in hot and tired, poor dear / No matter if he's tired, as long as he's here."
    • And in "Gee, Officer Krupke", the line "My father is a bastard / My ma's an SOB / My grandpa's always plastered / My grandma pushes tea" is changed to "My daddy beats my mommy / My mommy clobbers me / My grandpa is a Commie / My grandma pushes tea."
    • And in the "Jet Song" the lines "When you're a Jet / And the spit hits the fan / You got brothers around / You're a family man" are changed to "When you're a Jet / Let them do what they can / You got brothers around / You're a family man." Particularly funny given that "spit" in the original was probably changed from...well, you know.
    • The line, "Trusting with our hearts open! With our arms open!" - "You came with your legs open!" was replaced "legs" with "mouth."
    • Furthermore, Stephen Sondheim originally wanted to end the song "Gee, Officer Krupke, fuck you!" but it was changed to "Krup you!" (In his book of the lyrics, he comments that he thought the "Krup" change was for the better.)
    • In the show, Maria complains that Anita won't make her dress more revealing, insisting that "it's now to be used for dancing, not kneeling in front of an altar!", implying that it was once her church dress. Anita responds, "With those boys, you could start out dancing and end up kneeling", insinuating either "having" to get married because of sexual activity and pregnancy, or the sexual activity itself. In the movie, this is changed to "dress for praying" and "start out dancing and end up praying", making the implications less obvious.
    • Schrank's taunting of Action changes from "How's the action on your mother's mattress?" to "How's the action on your mother's side of the street?" Not much better but enough to go over the head of some younger viewers.
    • In "I Feel Pretty", the lines "I feel pretty and witty and bright! / And I pity / Any girl who isn't me tonight!" are changed to "I feel pretty and witty and gay! / And I pity / Any girl who isn't me today!", which kind of had the reverse effect in the long run.
    • The exchange between Riff and Tony as "Womb to tomb, worm to sperm" is changed in the film to "Womb to tomb, birth to earth", but in the Quintet, for some reason, it's just "One two three, one two three!" which is a rather odd filler.
  • Break the Cutie: Maria and Anita; both lose their lovers, Maria also loses her brother, and Anita is also nearly raped. Tony arguably counts as well, since he loses his best friend, has to face the guilt of killing Maria's brother, goes on the run from the police, and is tricked into thinking Maria is dead before being murdered himself; so does Chino, who also loses his best friend, finds out that his (implied) fiancée is having an affair with said friend's killer, and in the end is arrested for having killed Tony. This all happens to them in just one night.
  • Brief Accent Imitation: In the film adaptation, one of the Jets acts as a doctor with a German accent during "Gee, Officer Krupke".
  • Brown Face: They really broke out the shoe polish for this one. Almost all of the Sharks were played by non-Hispanic white actors. Maria was played by the Russian-American Natalie Wood, and Bernardo by the Greek-American George Chakiris. In a shocking casting coup, Anita was played by the actually Puerto Rican Rita Moreno (seriously, she was born there and everything!) but even she is slathered in brownface and forced to put on an over-the-top accent.
  • Butch Lesbian: Anybodys' masculine look can be read as this, though their orientation and gender can be ambiguous.
  • Call-and-Response Song: "America." In the stage version, Rosalia sings about how great Puerto Rico was and the other women sing about how America is better. In the film, the women sing about America's positive qualities and the men sing about its xenophobia.
  • Category Traitor: Maria is expected to marry Chino simply because they are from the same ethnic group. When she falls in love with an outsider, all hell breaks loose. Interestingly, Chino never gets any Entitled to Have You lines, but that's probably because he's such a minor role in the first place.
  • Chekhov's Gunman: Anybodys warns the Jets that Chino has a gun and is looking for Tony. Indeed, he shoots him at the end.
  • Colour-Coded for Your Convenience: In the original production, film, and most subsequent productions, it's purple and red for the Sharks, yellow and blue for the Jets. Most obvious at the dance, but still subtly present in other scenes.
    • White, red, and yellow for Maria, pink and purple for Anita, and blue for Tony.
  • Combat by Champion: How the climactic rumble at the end of Act I was "supposed" to go. It's still presented as a better option than the all-out brawl it was going to be.
  • Coordinated Clothes: To the dance at the gym, all the Jets wear white ties with a black design that looks like the hand of a clock.
  • Covers Always Lie: A carefree Tony and Maria frolicking down the street on the front of the Original Broadway Cast album.
  • Crapsack World:
    Doc: When do you kids stop?! You make this world lousy!
    Action: We didn't make it, Doc.
  • Cycle of Vengeance: As best as can be determined from each side's self-serving account, the conflict began when the Jets attacked Bernardo the day he moved to the West Side (though the Jets would say Bernardo began it by moving there.) Bernardo created the Sharks to oppose them, but by the time the movie begins, both sides have become virtually indistinguishable, and each is concerned only with vengeance on the other for whatever the other's last act of vengeance on them was. In the "Tonight Quintet," each side sings the line "They began it." They also sing the exact same music on that line, suggesting that the genesis of each gang's hatred is basically identical.
  • Damn, It Feels Good to Be a Gangster!: The Jets' Song plays this trope straight; the rest of the musical deconstructs it.
  • Dance of Romance: Tony and Maria, though it is a cha-cha and not the more standard waltz.
  • Dark Reprise: "Tonight" during the Quintet and "Somewhere" as Tony is dying.
  • Deus Exit Machina: In the film, Ice leaves Doc's to go outside and see if any of the Sharks are around right before Anita comes in. Without him around to keep everyone's heads cool, the Jets taunt and assault her.
  • Died in Your Arms Tonight: After being shot by Chino, Tony dies as Maria holds him.
  • Digital Destruction: To put it bluntly, every DVD and Blu-Ray Disc has at least one flaw. Most infamously, the 2003 DVD is in Pan and Scan, the Special Edition DVD plays "Tonight" out of sync, and the 50th Anniversary Blu-Ray has the screen turn black during a few seconds of the overture.
  • Dirty Cop: Lt. Schrank only barely holds the Jets in higher esteem than the Sharks. To him, they're all immigrant scum.
  • Distant Duet: "Tonight" has this between Tony and Maria, though the rest of the song is the Jets and the Sharks vowing to rumble, which isn't a duet.
  • Double Entendre: "Hey! I got a social disease!", referring of course, to juvenile delinquency, but the term "Social Disease" can also mean a sexually transmitted diease.
  • Downer Ending: Sure, the fighting's over, but three people are dead. But come on, this was based off of Romeo and Juliet, so it was hard not to see that one coming. At least the West Side ending can be considered Lighter and Softer than the Romeo ending, since Maria survives.
  • Dramatic Irony:
    • Maria persuades Tony to go to the rumble in order to stop the fist-fight. He ends up killing her brother.
    • After the Jets nearly rape her, Anita says that Maria is dead, having been killed by Chino. Maria is just fine, but the Jets don't know that, and having this information passed onto Tony only escalates the tension.
  • Dream Ballet: "Somewhere", where Tony vows to take Maria somewhere more peaceful than the streets.
  • Driven to Suicide: As should be expected from a Romeo and Juliet retelling, though the way both cases play out is Not His Sled:
    • After hearing that Chino allegedly murdered Maria in a jealous rage, Tony wanders the streets calling for Chino to kill him as well. Just as Tony sees Maria still alive and happily reunites with her, Chino belatedly obliges his death wish.
    • Shortly after this happens, an incensed Maria grabs the gun and threatens to murder everyone present, then kill herself too. But in the end, she doesn't.
  • Enemy Mine: For all their hatred of each other, the Jets and the Sharks seem pretty unified in their hatred of Schrank and Krupke:
    • When Bernardo mouths off to Schrank, Riff and the other Jets are visibly amused/impressed by it.
    • Bernardo and Riff pretend to be friendly when they notice Krupke eying them suspiciously.
    • Both gangs do this in full force when Schrank interrupts their war council.
    • When Schrank insults Bernardo, it's Riff and Ice who hold Bernardo back from attacking him—Riff even gives Schrank a Death Glare on his behalf and when Schrank orders the Sharks to leave, Bernardo looks at Riff for the go-ahead and doesn't move until he gives him an "It's ok" nod.
  • Enter Stage Window: Naturally, considering it's based on the Ur-Example.
  • Even Bad Men Love Their Mamas: All of the Jets appear ready to attack Schrank when he insults their families, referring to them as "tin-horn immigrant scum", and A-Rab and Action in particular need to be held back when he taunts the former about his father's alcoholism and the latter about his mother being a hooker.
  • Expy: Every single character corresponds to one in "Romeo & Juliet", as do many of the scenes and sequences. The most obvious being that Tony is Romeo while Maria is Juliet. The Jets are the Montagues, the Sharks the Capulets, and so on:
    • Characters:
      • Bernardo=Tybalt/Capulet
      • Anita=Nurse/Lady Capulet
      • Riff=Mercutio
      • Chino=Paris
      • Doc=Friar Laurence
      • Action=Sampson
      • A-Rab=Abraham
      • Baby John=Benvolio
      • Schrank=Prince Escalus
    • Scenes/Storylines:
      • Both works open with a fight between the two rival groups.
      • Juliet's betrothal to Paris=Maria's engagement to Chino
      • Juliet's debut party=Maria's first dance
      • Romeo & Juliet's balcony scene=Tony & Maria's fire escape scene
      • Romeo & Juliet's secret marriage=Tony and Maria acting out a wedding
      • Tybalt killing Mercutio=Bernardo killing Riff
      • Romeo killing Tybalt=Tony killing Bernardo
      • Friar John having to be quarantined, thus unable to bring Romeo the message from Friar Lawrence that Juliet's death is faked, leading to Romeo's suicidal response=Anita lying to the Jets and Doc that Maria is dead, rather than delivering Maria's message for Tony to wait for her at the drugstore.
      • The nurse being taunted by the Montagues=Anita being assaulted by the Jets and thus lying about Maria's death, leading to Tony begging Chino to kill him.
  • Extremely Short Timespan: The main plot starts on a Friday afternoon, and ends either very late Saturday night or very early Sunday morning. That is one hell of a weekend.
  • Final Love Duet: "Somewhere" reprise.
  • Freudian Couch: During "Gee, Officer Krupke", this is how the head shrinker is portrayed by the Jets.
  • Freudian Excuse: "Gee, Officer Krupke" mocks the concept, subverting it with an admission that the Jets really just aren't interested in honest work. Arguably played straight in the show's wider context, though, since both gangs are living in the gutters of New York and have to deal with anti-immigrant bigotry, the Sharks in particular facing constant racism.
  • Gang of Hats: Both gangs have their own dance style.
  • Getting Crap Past the Radar: "Gee, Officer Krupke; Krup you!" note 
  • Grass Is Greener: Bernardo and Anita accuse each other of having this mindset in regards to America vs Puerto Rico:
    Bernardo: It's so good here?
    Anita: It's so good there? We had nothing.
    Bernardo: Ah, we still have nothing, only more expensive.
  • Greaser Delinquents: Both the Jets and the Sharks are full of this.
  • Have a Gay Old Time:
    • "I feel pretty and witty and gay" - only in the movie. This was near the end of time when one could use "gay" in its original sense.
    • There's also the line in 'Cool' about "if you've got a rocket in your pocket", which meant Hot-Blooded in the 1960s, but not anymore.
  • The Hero Dies: Tony at the end is shot to death, and Maria laments how hatred killed him.
  • Herr Doktor: One of the Jets briefly pretends to be one in "Gee, Officer Krupke".
  • Hypocrite:
    • Schrank referring to the Jets as coming from "tin-horn immigrant scum" when he himself is almost definitely the descendant of immigrants.
    • Bernardo dislikes the Jets because they treat him and the other Puerto Ricans like outsiders despite the fact they too are Americans themselves. But he also clearly does not want his sister to be with any non-Puerto Rican, meaning he's not particularly more inclusive or open-minded than they are.
  • "I Am" Song: "Jet Song", where Riff describes how awesome it is to be a Jet.
  • The Ingenue: Maria, initially. When Tony asks her if she's "making a joke" in their Love at First Sight moment, she replies, "I have not yet learned how to joke that way" (i.e. she is too inexperienced to be anything but sincere). Her family is very concerned with protecting her, especially from 'a boy like that' who only 'wants one thing.' Her naive expectation that love-struck Tony can stop the rumble has tragic consequences for everyone.
  • In It for Life: "When you're a Jet, you're a Jet all the way, from your first cigarette 'til your last dying day."
  • Intermission: The play ends Act I after the rumble, while Act I of the movie ends after the war council. However, some prints of the movie don't have an intermission at all, since director Robert Wise felt that it broke the tension.
  • Irony: When told that Maria is dead, Tony becomes a Death Seeker, and screams out for Chino to kill him too. He snaps out of it when he sees Maria alive, only for Chino to oblige his death wish a little too late.
  • "I Want" Song: "Something's Coming" and "Somewhere".
  • Lampshaded Double Entendre: The chance to exaggerate the line "Cause no one wants a fella with a social disease!" in 'Gee, Officer Krupke' is passed over in the movie, but in stage productions, actors will sometimes do a suggestive shuffle on the floor, cover their crotches, or whatever other creativity the choreographer comes up with. Especially common in high schools, of course.
  • Laser-Guided Karma: The deaths of Riff and Bernardo could be seen as this.
  • Limited Wardrobe: Even at the dance, Anybodys wears the same outfit throughout the movie: a yellow t-shirt with blue sleeves and a pair of jeans.
  • Lipstick and Load Montage: In the reprise of "Tonight" in The Movie, Anita has a L&LM song while the gangs prepare for the rumble.
  • Location Song: "I Like To Be In America", where the women sing how they like the USA better than Puerto Rico and the men naming all the bad things about the USA.
  • Love Across Battlelines: Tony and Maria.
  • Love at First Sight: Just in case you didn't get it, the filmmakers made the rest of the dancers hazy, making sure that only Tony and Maria were in focus.
  • Malt Shop: Doc's Drugstore.
  • Massive Multiplayer Ensemble Number: "Tonight".
  • Meddlesome Patrolman: Officer Krupke seems to always show up to harass the gangs.
  • Mob War: Between the Jets and the Sharks. They initially wanted it to be an all-out bloodbath, but Tony talked them into Combat by Champion instead.
  • Mood Whiplash:
    • In the original stage play, "I Feel Pretty" takes place right after the rumble and just before Maria learns Tony killed Bernardo. "Gee, Officer Krupke" also takes place after the rumble. These were moved to before the rumble in the film.
    • The movie has a little bit of mood whiplash after the rumble. It cuts from Riff and Bernardo lying dead, to Maria dancing wistfully on a rooftop. Since this dance only lasts a minute at most, until Chino appears to deliver some tragic news, the amount of mood whiplash still feels significantly smaller than it did in the play.
    • Also applies to the "Gee, Officer Krupke" and "Cool" songs. In the stage version, the very sinister, serious "Cool" plays before the war council, whereas the comical "Gee, Officer Krupke" plays right after the rumble; the film reverses their placement. Stephen Sondheim has put out there that he prefers the play's placement of these songs.
  • Moral Myopia: Tony and Maria are respectively the only members of the Jets and the Sharks who show any sympathy for the other side.
  • My Country Tis of Thee That I Sting: "I Like To Be In America" is partially a Patriotic Fervor song as well as a song that is critical of the USA. The Puerto Rican women all prefer New York to Puerto Rico, while their men are far more critical. Yes, the song is sung by Puerto Ricans, but it was written by an American, Stephen Sondheim.
    Anita: Lots of new housing with more space
    Bernardo: Lots of doors slamming in our face.
    Anita: I'll get a terrace apartment.
    Bernardo: Better get rid of your accent.
    Anita: Life can be bright in America!
    Bernardo: If you can fight in America!
    Anita: Life is all right in America!
    Bernardo: If you're all white in America!
  • My God, What Have I Done?:
    • Tony, after killing Bernardo. Bernardo himself after killing Riff.
    • Everyone after Tony dies and Maria chews them all out.
  • My Sister Is Off-Limits!: Bernardo angrily intrudes on Tony and Maria's first meeting.
    "Go home, American. Stay away from my sister!"
  • Never Bring a Knife to a Fist Fight: Averted. They do. And two main characters get killed off.
  • Nice Job Breaking It, Hero!: Tony successfully stops an all-out war with knives and guns, by suggesting that they merely have the strongest of the two sides fistfight. But then Maria objects even to this, saying that any fighting is bad, and although Tony can see it leading nowhere nice to stop them, he does it because he loves her. Fast-forward. Rather than a simple fistfight, three people (including Tony) are dead, one is arrested and will most likely be hanged for murder, the two gangs hate each other even more (until they reconcile), and Maria has to live with her grief.
  • Not His Sled: Instead of killing himself like Romeo, Tony is killed by Chino, and unlike Juliet, Maria lives.
  • Not So Different: After the cops breaks up the first brawl between the Jets and Sharks, both groups decide to take time to Troll the cops. The ironic thing being both groups were laughing at one another's jokes.
  • Oh, Crap!: Riff gets shocked out of his mind when Bernardo kills him.
  • One of the Boys: Anybodys tries to be this, with limited success.
  • Only Sane Man: Doc sees that the events are spiraling into mayhem, and is increasingly frustrated by his inability to affect anything.
  • Opening Ballet: Used to communicate the relationship between the Jets and the Sharks.
  • Parental Abandonment: Heavily implied with Riff.
  • Pet the Dog: No character - even Tony - gives Anybodys the time of day, but once Ice takes over the Jets, he treats her like any other member and calls her "buddy boy", a phrase Riff only ever used with fellow gang members. Anybodys' face lights up.
  • Poirot Speak:
    • The Puerto Ricans litter their English with this. For example, "por favor", "una poca", and "sí".
    • Averted in the current revival, in which both the songs "I Feel Pretty" and "A Boy Like That/I Have A Love" are both sung entirely in Spanish, in addition to most scenes featuring only the Sharks being spoken in Spanish.
    • Due to the Spanish words not quite fitting the music, the songs were changed back into English in August 2009, but the spoken scenes remain in Spanish. This reaction could possibly have been avoided if they had displayed subtitles for the audience.
  • Politically Incorrect Villain: Lieutenant Schrank is openly racist against the Puerto Rican Sharks and favours the white Jets - although he doesn't give them much respect either, as they're all either Polish, Italian, or Irish.
  • Poor Communication Kills: Boy, did it ever here.
  • The Power of Hate:
    • Anita, after her near-gang rape.
      "Bernardo was right. If one of you was lying in the street bleeding, I'd walk by and spit on you."
    • Maria reveals she finally understands this when she raises her gun.
  • Pragmatic Adaptation: The Movie is a largely intact adaptation of the stage show, but song placement is shuffled around, to excellent effect. "Gee, Officer Krupke" and "I Feel Pretty" were both moved to Act I, which is lighter and more fun in tone. "Cool," an edgy and angry song, was moved into the similarly tense and dark Act II, averting the show's Mood Whiplash.
  • Rabid Cop: Schrank can run into this trope at times, especially when he shows himself willing to beat up the kids.
    Let him go, buddy boy. Let him go. One of these days, Action, there ain't gonna be nobody to hold you back.
  • Race Lift: Most of the Sharks, ironically, most obviously the very white (specifically, Russian-American) Natalie Wood playing a Puerto Rican.
  • Rape by Proxy: An attempted, possibly just simulated, version during the "taunting scene"; Baby John is lifted up by the other Jets and forced on top of Anita. Many productions portray him as being almost as traumatized by this as she is.
  • Roaring Rampage of Revenge: Tony killing Bernardo after the former kills Riff, the ensuing Jets/Sharks fight, and Chino ultimately killing Tony at the end could be seen as this.
  • Say My Name: "Maria," of course.
  • Schmuck Bait: Several times in the opening sequence, members of the Sharks taunt the Jets into chasing them, only to ambush them with paint, garbage, etc.
  • Screw the Rules, I Make Them!: "Yeah, yeah, 'It's a free country, you got no right.' Well, I got a badge. What do you got?"
  • Sexy Discretion Shot: At the end of "Somewhere", Tony and Maria embrace passionately and sink from view. By the time the scene fades back in, it's pretty obvious what's happened—he's shirtless and she's in a slip.
  • Shave and a Haircut: "Gee Of-fi-cer Krup-ke, Krup You!"
  • Shipping Torpedo: Anita tries to sink Tony/Maria because she believes Tony is a dangerous, murderous boy who will break Maria's heart.
  • Slap-Slap-Kiss: Anita and Bernardo clearly love each other, but trade barbs quite frequently.
  • Society Is to Blame: "Gee, Officer Krupke" mocks this mindset by having the Jets make fun of all the excuses adults throw around as to why the Jets and other JDs are the way they are.
  • The Song Before the Storm: Again, "Tonight", which happens right before a Mob War.
  • Spared by the Adaptation: Juliet and Paris both die in Romeo and Juliet, but their respective counterparts, Maria and Chino, survive here.
  • Spicy Latina: Anita's hot temper, in line with all the stereotyping.
  • Staggered Zoom: Onto one of the youngest Jets as he's painting "Sharks Suck" onto a wall, right before the Sharks catch him.
  • Taglines: For the movie version, the original poster boasted, "The screen achieves one of the great entertainments in the history of motion pictures", while re-release trailers proclaimed, "Unlike other classics, West Side Story grows younger."
  • Take It to the Bridge: The rumble at the underpass.
  • Take Up My Sword: When Bernardo stabs Riff, Riff hands his knife to Tony before dying.
  • The Team Wannabe: Anybodys wants to be a Jet, but Riff isn't having it. She still shows up everywhere the Jets do, though.
  • Tenor Boy: Tony. He is, after all, based on Romeo, who by stereotype is incapable of being anything but a tenor.
  • Theme Tune Cameo: When Anita arrives at the drugstore, the jukebox is playing the "Mambo" music. Also, as Doc comes downstairs, Tony whistles "Maria" to himself.
  • Totally Radical: The Jets sing and speak in a mixture of real 50s slang and some the writer made up. It still sounds silly. Apparently slang that was never actually popular slang can't become dated slang. Pow, Daddy-O!
  • A Tragedy of Impulsiveness: The entirety of the Cycle of Revenge is this. In particular, Tony's murder of Bernardo.
  • Truce Zone: The school gym is neutral territory for both gangs, which is why they avoid starting trouble at the dance.
  • Uncommon Time: "America" alternates between 6/8 and 3/4 time. Conducting this piece is a common exercise for undergraduate music students.
  • Unusual Euphemism: The "Jet Song" uses "buggin'" and "mother-lovin'", as well as the phrase "when the spit hits the fan." Though the writers also used sanitized street language at the end of "Gee, Officer Krupke" ("Krup you!"), they must have forgotten about "schmuck" earlier in the song, which had to be censored on the original Broadway cast recording, even before it was (differently) censored in the movie - without breaking the rhyme in either case.
  • When I Was Your Age...
    Doc: Why, when I was your age—
    Action: When you was my age; when my old man was my age; when my brother was my age! You was never my age, none of you! The sooner you creeps get hip to that, the sooner you'll dig us.
  • White Gang-Bangers: Back when it was written, the Polish, Italian, and Irish were considered white but not enough to fully mix with the rest of Anglo-American society, partly due to anti-Catholic bias.
  • Why Don't You Marry It?: Baby John comments on a comic book he's reading, declaring his love for the main hero (Superman in the stage show, Captain Marvel in the film). A gang member (Snowboy in the stage show, Action in the film) irritably respond, "So marry him!"
  • Wide-Eyed Idealist: Glad Hand, who tries and fails to get the gangs to befriend each other.
  • Worthy Opponent: Riff considers the Sharks to be this and stresses to the Jets that they can't take them lightly if they're going to challenge them to a rumble.
  • Young Love Versus Old Hate: Subverted, unlike in the source material: Most of the cast, including the most hateful members of both gangs, are in their teens.
  • Your Mom: Riff teases Tony about his (Tony's) mother early in the show. Schrank later throws a taunt about Action's mother as well.


Example of: