Pre-AP Theatre: "West Side Story," Act One, Scenes 1–4 (Pre-AP Theater)

The boys—side burned, long-haired—are vital, restless, sardonic; the Sharks are Puerto Ricans, the Jets an anthology of what is called “American.”

The boys—side burned, long-haired—are vital, restless, sardonic; the Sharks are Puerto Ricans, the Jets an anthology of what is called “American.”

His lieutenant is Diesel: big, slow, steady, nice.

The youngest member of the gang is Baby John: awed at everything, including that he is a Jet, trying to act the big man.

The first interruption of the Jets' sunny mood is the sharply punctuated entrance of the leader of the Sharks, Bernardo: handsome, proud, fluid, a chip on his sardonic shoulder.

But the numerical supremacy, the strength of the Jets, is gradually being threatened.

The beginnings of warfare are mild at first: a boy being tripped up, or being sandbagged with a flour sack or even being spit on—all with overly elaborate apologies.

Finally, A-rab comes across the suddenly deserted area, pretending to be an airplane. There is no sound as he zooms along in fancied flight.

They close in, grab him, pummel him, as a Shark on top of the wall is stationed as lookout.

Which one of ’em clobbered ya, A-rab?

Sheepishly, A-rab trudges into position, Baby John behind him.

Sheepishly, A-rab trudges into position, Baby John behind him.

Pushing through the gang comes a scrawny teen-age girl, dressed in an outfit that is a pathetic attempt to imitate that of the Jets.

Perhaps we have glimpsed her in the fracas before the police came in.

In a moment of bravado, just before she goes, Anybodys spits—but cautiously.

A rumble!

I say this turf is small, but it's all we got. I wanna hold it like we always held it: with skin!

OK, buddy boys, we rumble! [General glee.]

Now protocality calls for a war council to decide on weapons. I’ll make the challenge to Bernardo.

On a small ladder, a good-looking sandy-haired boy is painting a vertical sign that will say: “Doc’s.” Below, Riff is haranguing.

Anita, a Puerto Rican girl with loose hair and slightly flashy clothes, is finishing remaking what was a white communion dress into a party dress for an extremely lovely, extremely young girl: Maria.

Maria is an excited, enthusiastic, obedient child, with the temper, stubborn strength and awareness of a woman.

MARIA [exasperated]
Anita, it is now to be a dress for dancing, no longer for kneeling in front of an altar.

Actually, a converted gymnasium of a settlement house, at the moment being used as a dancehall, disguised for the occasion with streamers and bunting.

A brief consultation, and Riff starts across—with lieutenants—to make his challenge to Bernardo, who starts—with his lieutenants—to meet him.

Snowboy straightens up and meekly returns to his place.

Riff steps forward and beckons to his girl, Velma.

They have been cheering on their respective friends, clapping in rhythm. Now, as they see each other, their voices die, their smiles fade, their hands slowly go to their sides.

Impulsively, he stops to kiss her hands; then tenderly, innocently, her lips.

Impulsively, he stops to kiss her hands; then tenderly, innocently, her lips.