Wednesday, September 26, 2007

Sept. 26, 1957: West Side Story debuted on Broadway

Originally posted March 7, 2011. Last updated September 2, 2018.

West Side Story (cast/soundtrack)

Leonard Bernstein/ Stephen Sondheim (composers)

Opened on Broadway: Sept. 26, 1957

Cast Album Recorded: Sept. 29, 1957

Cast Album Charted: March 17, 1958

Soundtrack Charted: October 23, 1961

Sales (in millions):
US: 2.5 c, 8.0 s
UK: 0.6 c, 0.1 s
IFPI: --
World (estimated): 3.1 c, 8.1 s

US: 5 C, 154-S
UK: 113-S
Canada: --
Australia: --

Quotable: “Takes up the American musical idiom where it was left when George Gershwin died.” – John Chapman, New York Daily News WK

Genre: show tunes

Album Tracks:

Cast Album:

  1. Prologue
  2. Jet Song
  3. Something’s Coming
  4. The Dance at the Gym
  5. Maria
  6. Tonight
  7. America
  8. Cool
  9. One Hand, One Heart
  10. Tonight
  11. The Rumble
  12. I Feel Pretty
  13. Somewhere (Ballet)
  14. Gee, Officer Krupke!
  15. A Boy Like That/I Have a Love
  16. Finale

Above track listing based on 2000 Decca reissue. Songs with an asterisk (*) are on original 1946 cast album.

c Songs unique to cast album.


  1. Overture **
  2. Prologue
  3. Jet Song
  4. Something’s Coming
  5. The Dance at the Gym
  6. Maria
  7. America
  8. Tonight
  9. Gee, Officer Krupke!
  10. I Feel Pretty
  11. One Hand, One Heart
  12. Quintet
  13. The Rumble
  14. Somewhere
  15. Cool
  16. A Boy Like That/I Have a Love
  17. Finale
** Songs unique to soundtrack.

Notes: The 1998 reissue of the cast album added nine instrumental tracks.

Singles/Hit Songs:

Click here for the chart codes for singles/hit songs.

- Johnny Mathis (1960) #78
- Roger Williams (1962) #48

- Ferrante & Teicher (1961) #8
- Eddie Fisher (1961) #44

- P.J. Proby (1965) #91
- Len Barry (1966) #26
- Barbra Streisand (1986) #43

* As was common in the pre-rock era, multiple versions of a single song from a Broadway show would become hits. All chart positions are from the U.S. Billboard pop charts.


West Side Story is hailed as “one of the greatest musicals of all time.” RU Conceived by Arthur Laurents as a modern take on Romeo and Juliet, he recruited Leonard Bernstein for the music, Stephen Sondheim for the lyrics in what would become his Broadway debut, and Jerome Robbins as the choreographer and director. It opened on Broadway on September 26, 1957 at the Winter Garden Theatre and “ran for 732 performances (a successful run for the time), before going on tour.” WK It won Tonys for choreography and scenic design, led to an Academy-award winning film, and became a favorite of “schools, regional theatres, and occasionally by opera companies.” WK

Jerome Robbins first approached Leonard Bernstein and Arthur Laurents in 1949 with his idea of adapting Romeo and Juliet as a contemporary musical. A first draft called East Side Story focused on conflict between a Catholic family and a Jewish family living in Manhattan on the Lower East Side. It was shelved for its similarity to plays lie Abie’s Irish Rose, WK but revived in 1955 when Laurents was approached to adapt the novel Serenade by James M. Cain. That project didn’t make it either, but it connected Laurents with Stephen Sondheim. Along with Bernstein and Robbins, they decided to return to the East Side Story. WK

The musical faced understandably difficult challenges. Critics “said the score was too rangy for pop music” WK and with more dancing than any previous Broadway show WK it would be problematic to find a cast who could sing, dance, and act. Laurents wanted James Dean as Tony, but he died before even hearing about the role. WK

However, the eventual production was well received by audiences and critics. It “galvanized Broadway with its vivid reinvention as a parable of racial intolerance and generational conflict.” SS “The story appealed to society’s undercurrent of rebellion from authority that surfaced in 1950s films like Rebel without a CauseWK and “the musical also made points in its description of troubled youth and the devastating effects of poverty and racism.” WK

“The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre.” WK Musically, Bernstein “integrated Latin percussion and jazz into his electrifying score” EV alongside “symphonic grandeur” RU “and a rarely heard (in Broadway) toughness.” RU Bernstein’s efforts “dazzlingly translating New York’s unique vitality into a musical idiom.” EV

Set in the mid-1950s in New York City, the story explores the rivalry between two street gangs of different ethnicities. The Sharks are Puerto Rican and the Jets are working-class white. The protagonist, Tony, is a Jet and falls in love with Maria, who is the sister of Bernardo, the Sharks’ leader.

During a challenge dance (Dance at the Gym) between the Jets and the Sharks, Tony meets Maria. Bernardo breaks up their attempted kiss and sends her home, but Tony serenades her outside her bedroom (Maria) and they profess their love to each other (Tonight). WK

The next day at the bridal shop where Maria works, she asks Tony to stop a planned fight between the Jets and Sharks. Tony tries to stop the fight (The Rumble), but when Riff, the leader of the Jets, is stabbed by Bernardo, Tony kills Bernardo in a rage. Maria is devastated when she hears, but still decides to run away with Tony. “As the walls of Maria’s bedroom disappear, they find themselves in a dreamlike world of peace (Somewhere).” WK

After Maria’s friend Anita is nearly raped by the Jets, she claims Chino killed Maria in jealousy. When Tony hears, he decides he has nothing to live for. He confronts Chino, begging to die, and is shot by him just as he sees that Maria is actually alive. The Jets now move towards the Sharks, wanting to avenge the death of another friend. With Chino’s gun in her hand, Maria tells everyone that hatred is what killed Tony and the others and that now she too can kill because she hates. However, she drops the gun in grief and gradually the gang members on both side “assemble on either side of Tony’s body, showing that the feud is over.” WK

A film adaptation, directed by Robbins and Robert Wise, was released on October 18, 1961. As ground-breaking as the show was on Broadway, it became another animal entirely when transferred to film. It was the second highest-grossing film of the year in the United States and won 10 Academy Awards, including Best Picture. WK Natalie Wood was cast as Maria and Richard Beymer as Tony. The singing was handled by Marni Nixon and Jimmy Bryant. The “lavish widescreen presentation broke fresh ground by taking the story to its most impressionable audience, the teenagers who could identify directly with Tony and Maria, and opened up Jerome Robbins’ kinetic choreography through bravura camera work.” SS

While “the 1957 original Broadway cast recording still holds up today, …[it] isn’t as good as the movie soundtrack” RU which “was not merely a huge seller but a unique touchstone for an otherwise rock-oriented audience.” SS It “spent more weeks at #1 in the charts (54) than any other album in history” WR and “made more money than any other album before it.” WK It also won the Grammy for Best Soundtrack or Cast Album.

Review Sources/Related DMDB Links:


Sunday, September 23, 2007

Buddy Holly hit #1 with “That’ll Be the Day” 50 years ago today (9/23/1957)

Last updated 4/13/2020.

That’ll Be the Day

Buddy Holly & the Crickets

Writer(s): Buddy Holly/ J.I. Allison/ Norman Petty (see lyrics here)

Released: May 27, 1957

First Charted: July 27, 1957

Peak: 11 US, 3 CB, 3 HR, 2 RB, 13 UK (Click for codes to singles charts.)

Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US + UK)

Airplay/Streaming (in millions): 3.0 radio, 10.46 video, -- streaming


About the Song:

“That’ll Be the Day” came about as the result of a John Wayne movie. Buddy Holly and drummer Jerry Allison went to see the Western The Searchers. Whenever a character would suggest something that wasn’t likely to happen, Wayne would proclaim, “That’ll be the day.” SF One night at Jerry’s house, Buddy suggested that it would be nice if they could record a hit song, to which Jerry replied, “That’ll be the day.” SF

Holly recorded the song with Allison, guitarist Sonny Curtis, and bassist Don Guest AMG in Nashville in 1956 SF with a more country-oriented vibe than the version that would become a hit. NRR Allison has said that Decca producer Owen Bradley said, “That’s the worst song I’ve ever heard.” KL

When that contract expired in January 1957, Holly took the song to Norman Petty, who’d impressed him with his production on Buddy Knox’s “Party Doll.” BR1 Technically, Holly wasn’t contractually permitted to re-record the song. However, Holly & company could cut it under a group name. KL After rejecting the name The Beetles, they settled on The Crickets “because of their happy, chirping sound.” KL

Later, the Beatles moniker re-surfaced for the Fab-Four – inspired by the Crickets, and especially “That’ll Be the Day,” since it was one of the first songs John Lennon learned. HL

A year after the second recording of the song, Holly was killed in a plane crash on 2/3/59, a tragedy often known as “the day the music died” because it also took the lives of fellow rock singers the Big Bopper and Ritchie Valens. His career was short, but with the “endearing hiccup in Holly’s voice, the bouncy rockabilly beat, [and] an intriguingly enigmatic story line” AMG the song “That’ll Be the Day” would live on as one of early rock and roll’s most classic tunes.

Resources and Related Links:

  • Buddy Holly’s DMDB Encyclopedia entry
  • AMG All Music Guide review by Bruce Eder
  • BR1 Fred Bronson (2003). The Billboard Book of Number One Hits (5th edition). New York, NY: Billboard Books. Page 26.
  • HL Michael Heatley and Spencer Leigh (1998). Behind the Song: The Stories of 100 Great Pop & Rock Classics. London, England: Blandford Books. Page 12.
  • KL Jon Kutner and Spencer Leigh (2005). 1000 UK Number One Hits: The Stories Behind Every Number One Single Since 1952. London, Great Britain: Omnibus Press. Page 46.
  • NRR National Recording Registry
  • SF Songfacts

Saturday, September 8, 2007

Fergie hit #1 with “Big Girls Don’t Cry”

Last updated 3/22/2020.

Big Girls Don’t Cry (Personal)


Writer(s): Stacy Ferguson/Toby Gad (see lyrics here)

Released: May 22, 2007

First Charted: May 5, 2007

Peak: 11 US, 18 RR, 16 AC, 17 A40, 2 UK, 13 CN, 19 (Click for codes to singles charts.)

Sales (in millions): 4.0 US, 0.6 UK, 5.34 world (includes US + UK)

Airplay/Streaming (in millions): 0.8 radio, 207.0 video, -- streaming


About the Song:

Fergie was with the band Wild Orchid for ten years before joining the hip-hop group Black Eyed Peas in 2002. The group took off with her as a member – the albums Elephunk (2003) and Monkey Business (2005) moved 8 and 10 million copies worldwide respectively. In 2006, Fergie decided to release her first solo album – The Dutchess. With 9 million in sales worldwide, it matched her group efforts and the album’s five top-five singles gave her even more chart success as a solo act than what the Peas had previously achieved.

“Big Girls Don’t Cry” was the fourth single from the album and the third to top the Billboard Hot 100. It made her the first female artist since Christina Aguilera in 2000 to have three #1 songs from an album. BB100 Instead of relying on the hip hop and urban elements of the previous singles, this one was an acoustic-based ballad featuring credits from about thirty instrumentalists, including eighteen violinists and players on viola, celli, bass, drums, and keyboards. WK

The song is about breaking up with someone, but reminiscing about what that person was like. Fergie told AOL the song, which she wrote before she joined the Black Eyed Peas, was about independence. SF’s Bill Lamb noted that it represented artistic growth for Fergie and’s Alex MacGregor praised the song as timeless. WK

“Big Girls” also reached #1 in Australia, Canada, Denmark, Ireland, New Zealand, and Norway. WK and was Fergie's first No. 1 on the U.S. Mainstream Top 40, Adult Contemporary and Adult Top 40 charts. BB100 It was iTunes most-downloaded song in 2007. SF

Resources and Related Links: