West Side Story

West Side Story

Contents
Production Team
Producer/Assistant Producer Dynamic
Artistic Vision (include mis en scene)
Plot Summary
Characters
Music
Choreography
Set Design
Costume and Props
Audition Process
Rehearsal Schedule
Marketing
Publicity
Lighting and Sound Design
Proof of Rights Availability
Budget

West Side Story

Tom Stickland - Director

Tom is a second year PPE student having spent most of his university life
wrapped up in student drama at Warwick. Since ASMing Sweeney Todd in his
first year he has been involved in the stage management of Little Shop of
Horrors, Pitchfork Disney, Into the Woods and Return to the Silence. He was
LX and Video Op for Macbeth and Assistant Producer for Little Shop of
Horrors. He has been MTW Productions Manager Since 2008 and was DC
Secretary. In 2008 he programmed WSAF and this year he will be venue
managing in the big top with Steph. Tom co-directed the last Weekend Show
We Will Rock You
As a musical theatre performer at Warwick his appearances have been limited
to Cameos, Understudies and Lapworth but prior to coming here Tom was
very involved in the Youth Music Theatre: UK theatre company; appearing as
Grantaire in Les Miserables, Originating the roles of Abbe Faria and Valentino
Malone in Monte Cristo (Birmingham Hippodrome, Patrick Centre) and
Sunflowers (Plymouth College) respectively and devising a new musical
Manifest Yourself! under the commission of the UK Youth Parliament. He has
also performed with them in West End Live at Leicester Square and Circles of
Influence at the British Museum.
Tom can't really stop singing however hard he tries; he is a Grade 8 Bass. He
served 5 years as a member of the Epworth Choristers and then as a member
of the Surrey Youth Choir for 2 years he performed many concerts a
particular highlight being as Soloist/1st Bass in Toward the Unknown Region at
the Royal Albert Hall. He lead the Bass section of a small group chosen to
celebrate the 2006 Commonwealth Games at the Australian Embassy. Tom is
also a Grade 6 oboist and has conducted his old school's choir and orchestra.
A few years ago Tom stopped having dance lessons but while he did he
achieved a grade 5 in tap and theatrecraft, and a silver disco-dancing award
(which he is very proud of). He danced from the ages of 7 to 15 and looks
forward to dusting of his dancing shoes which still fit (he checked)
Tom has an A in A-level Drama and Theatre Studies, achieving full marks in
all practical modules which included acting, directing, design and devising
aspects. He also Stage and Tech Managed a ridiculous number of shows, a
highlight being The Wizard of Oz which was amazing! He also appeared in
Bugsy Malone and Joseph and his Amazing Technicolor Dreamcoat.

West Side Story

This summer Tom will be extending his Technical and Production Knowledge
by venue managing for Pleasance at the Edinburgh Fringe and interning with
Perfect Pitch Musicals. He has already worked fairly extensively as a
technician which included working for Edinburgh University Festivals office
last year and Work Experience at Battersea Arts Centre, the Yvonne Arnaud
Theatre and Greenwich Dance Agency.
In other news, he represented his region at basketball and spent time as both
captain and junior team coach. He hopes these skills will assist in the pursuit
of his American youth driven vision for this show.

Producer Steph Allen

Steph has been an active member of both MTW and Warwick drama since
starting at the university. She has been involved in a variety of capacities,
including her roles as ASM for MTW productions of Little Shop of Horrors, Into
the Woods and the theatre production of Sweeney Todd, as well as being an
ASM for a WUDS production of A Pitchfork Disney, for which she also
operated lights. Her involvement in drama at Warwick has progressed as the
number of positions she has undertaken has increased. Steph has stage
managed productions of A Man of No Importance, Elephants Graveyard,
Under Milk Wood and a touring Opera Warwick production of Dido and
Aeneas, which involved organising a large number of cast and crew in a
variety of unknown venues. She has also taken on more technical areas of
responsibility, she was the DSM for Codpieces production of Return to the
Silence, with which she went to the National Student Drama Festival, sound
operated Macbeth and was assistant sound designer for Into the Woods.
Steph produced Tech Crew: The Musical for WSAF 2008, and was the sound
technician for the Studio for the festival. Steph is currently producing a
production of Patrick Marbers Dealers Choice and is the Venue Manager for
the largest venue at this years SPLAT festival.
Steph has had a variety of roles within a number of productions at Warwick,
and therefore feels she has a good understanding of different aspects of
production. She has worked closely with members of the Arts Centre staff,
with whom she has good relations which she is keen to maintain, whilst also
continuing and developing MTWs relationship with the Arts Centre. Between
Stephs technical background and Matts musical side the team would work
cohesively as a unit, avoiding problems which have occurred in previous years
and the teams shared experience of working in the theatre would prove
invaluable.
Matt has frequently worked with both Tom and Steph, and their relationship
has developed throughout their involvement in Warwick drama. The trio met
during the last theatre production, Sweeney Todd, and since then have

West Side Story

worked together fairly consistently for the last year and a half. They have
undertaken a variety of responsibilities and feel their combined knowledge of
the theatre as a venue, the staff and people who will be involved in a number
of capacities will prove to be incredibly helpful.
Steph is well aware of the possible difficulties of being away for the first term
next year, and has spoken at length with previous MTW producer, Lettie
Graham. Steph has used every possible help available to her, taking
considerable amount of time to discuss the practicalities of being away with
Matt and Tom, as well keeping the entire team up to date on the situation.
With the use of Skype and the option of having group conversations Steph
will keep up to date on the cast and band progress, using webcam to allow all
those involved to become familiar with her before she returns from Italy.
Fortunately she is well acquainted with a large number of the people she will
need to maintain contact with.
The distance between Steph and the rest of the team would not be a
problem, as she is close to both Tom and Matt on a personal as well as
professional level, and would ensure time is spent with both of them over the
summer holidays, organising, as much as possible, the tasks to be carried out
in the first term, including finances, rehearsal schedules and communication
via e-mail, all of which can continue to be done by Steph when she is away.
Matt will act as an extension of Steph whilst she is abroad, and will be
responsible for all the tasks which Steph will not be able to perform whilst
away, for example, meetings and socials which require a physical presence.
Although there will be difficulties, and no one on the team is trying to shy
away from this fact, it is a problem which is easy to overcome. The time
between the submission results and the beginning of term two includes
almost four months of holiday (summer and Christmas vacation), in which she
can dedicate as much time as is required to meeting Tom and Matt, whilst
pre-planning a large amount of the work to be done. The entire team have an
incredible amount of experience working in both the Arts Centre theatre and
the Studio, and Steph feels their individual strengths and past experience will
allow the period in which she is in Venice to run as smoothly as possible.
Steph is incredibly excited about the prospect of producing such a brilliantly
vibrant show, whilst relevant to contemporary society and problems occurring
within it. It is likely that a majority of the audience in the theatre will be
below the age of twenty five, and so a show which directly deals with issues
of young people and the problems of peer pressure and gang violence will be
that much more effective. Steph knows that although every successful
producer should always be level-headed, organised, communicative and have
a calming presence around her team, band and cast, what should also be
conveyed is a passion for the show on which they are working. West Side
Story is a brilliant musical, and has the potential to be an outstanding success
for MTW.

West Side Story

Assistant Producer /Provider of Baked Goods Matthew Dimic

Matt is a second year English Literature student. His MTW experience began
in the pit of Sweeney Todd and has continued to be chiefly in the pits, playing
in the bands for Into the Woods, A Man of No Importance and Company. He
was the musical director (and arranged) for Quest for last years WSAF and
this years MTW Revue. He is currently working on Songs for a New World for
SPLATfest as Musical Director. He also worked as rehearsal pianist for MTW
Juniors and has been in the chorus of Weekend Shows. He was involved in
the marketing for the Montague and Capulet submission this year and also
assisted in marketing the Revue and 100 in Belfast. During his school years
Matt had more experience in orchestras including playing in the Royal Albert
Hall as part of the National Festival of Music for Youth. During his school
years he also trod the boards in several shows and helped direct G.C.S.E. and
A Level drama groups.
Since Matts experience in the theatre has been more or less equally spread
between standing on the stage and sitting beneath it in pits he feels very
passionately about preventing a cast/band/techie divide. He believes that he
has the experience and knowledge necessary to help prevent this happening
in West Side Story.
Matt has been off the stage (and out from under it) and during this time he
served as Head Boy of his school, sitting on the Board of Governors while
doing so. While at school he was also Meeting Chair of the Young Enterprise
group as well as sitting on the Youth Council for Newport. At Warwick he
organised a trip taking more than fifty people to Birmingham to see Opera
Warwicks Production of Dido and Aeneas this Christmas as English Literature
Societys Theatre Secretary and he is currently the WUDS Secretary. He is a
prolific cookie baker because he really doesnt get out enough and has no
intention to start going out next year.
Although Matt has not produced before he has been on production teams and
involved in productions with several capable producers. He feels he is levelheaded and organised enough to fulfil the demands of the role and with his
experience in pits and casts will be committed to ensuring a good relationship
between cast and band.

Musical Director - Tim Sentance

Tim Sentance is a Second Year Economics student. He has achieved Grade 8
with distinction on the Piano, and has a performing diploma from the
Associated Board of the Royal School of Music on the Saxophone and a recital

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diploma from Trinity College of Music on the Violin. Tim has had a wide
musical background, having played in Symphony Orchestras, String
Orchestras, Concert Bands and Big Bands both at secondary school and at
Warwick, and toured to France, Germany and Italy with various different
groups. This training in both Classical and Jazz music is very relevant to West
Side Story, which brings together elements of both styles of music.
As well as this more general experience, Tim has been heavily involved with
Musical Theatre at Warwick. He has played the violin in MTW productions of
Sweeney Todd and Into The Woods, and played the saxophone in the
Mamma Mia weekend show and two Revue shows. Tim also has experience
as an MD in A Man Of No Importance and the weekend production of We Will
Rock You, as well as in Tech Crew The Musical, for which he arranged much
of the band parts. In addition, he is one of the MDs for the Big Band, which
requires rehearsing around 40 musicians on a weekly basis as well as
performing at private functions for hundreds of guests. Tim also has
considerable knowledge of West Side Story itself, having played violin in a
production of the show at secondary school.

Vocal Musical Director - Frances Bridgewater

Frances Bridgewater is currently in her first year at Warwick completing a
degree in Comparative American Studies. She has had an active musical life
since an early age, taking lessons on the cello from age seven, on the piano
from age eight and voice since she was thirteen. She was a member of
Dudley Performing Arts from age nine to eighteen, leading the cello section
of the boroughs highest orchestra from age fourteen to nineteen. With this
orchestra she was fortunate enough to perform in Birminghams Symphony
Hall.
At secondary school Frances was a member of the Choir, String Orchestra and
Wind Band, and took part in five school shows, taking the lead as Bugsy in
Bugsy Malone and as a Narrator in Joseph and His Technicolour Dreamcoat.
She has also returned to the school to assist with the production of Grease
and Oliver since leaving in 2006. Frances was Head Girl at secondary school
and acted as a liaison officer between the boarding and day communities of
her sixth form. During sixth form Frances was a member of five musical
groups, including the Symphony Orchestra, Choir and Chamber Choir, which
she also managed and conducted.
Frances passed her Grade 8 singing and Grade 8 cello exams in 2008, both
with distinction. For her cello examination she was awarded the Sheila C.
Freeman Prize by the Associated Board, for achieving the highest Grade 8
mark in Wolverhampton and its neighbouring areas. She achieved an A*

West Side Story

grade for GCSE Music and an A grade for A-Level Music. She was awarded for
her contributions to music at both secondary school and sixth form. Between
years 11 and 13, Frances played the cello in a String Quartet, performing at
weddings and other private functions. In year 13 she took over the
management of the String Quartet.
For the past three summers Frances has played cello in a summer orchestral
course, European Youth Music Week. As part of this course she performed
Bernsteins Symphonic Dances from West Side Story, which Frances feels has
already familiarised her with the musicals rhythmic complexities. Frances
currently plays with the Central England Ensemble, based in Birmingham.
At Warwick, she is a member of the auditioned University Chamber Choir as
well as the University Consort. Frances was elected President of the Chamber
Choir in March 2009, a role which she was delighted to achieve so earlier in
her university career. She is a regular attendee of both MTW and WUDS
performances and was happy to accept the role of conductor of a choir
specially formed for the WUDS production of Tis Pity Shes A Whore. Frances
also regularly performs as a soloist, most recently participating in An Evening
of Gilbert and Sullivan at the Norbury Theatre in Droitwich and performing
Time To Say Goodbye at her sixth form prize giving ceremony. She continues
to have singing lessons at university, under the tuition of Richard Whitehouse.
Frances is used to having a busy schedule, and has comfortably balanced
rehearsals around academic studies since the age of sixteen. Frances is very
comfortable taking a position of leadership, of which her role as President of
the Chamber Choir has given her much experience. Her conducting for Tis
Pity She A Whore founded a new passion for vocal direction, which Frances is
keen to nurture throughout her university life.

Choreographer Sam Pollitt

Sam is a second year English Literature student. She has been dancing since
the age of 3 and has achieved Advanced Grades in modern, tap and ballet
dance to Honours level. She has had experience teaching both at her dance
school at home but also since she has come to University demonstrating that
she is capable of working with and leading her peers. While she was working
for her A levels she also taught at a County Council Centre Stage group where
she taught dancing to children who had no previous training. This
demonstrates that she will be able to cope with the large dance chorus that
West Side Story will require but also that she has had experience working
with non-dancers and is more than capable of adapting choreography to suit
the needs of those she is teaching. As well as a traditional dance training she
has also performed in many amateur musical productions with the
Northampton Amateur Operatic society from 42nd Street to Crazy for You
largely as a chorus member but also taking on the role of dance captain. She
also has a straight theatre background as she has just recently completed her

West Side Story

Advanced LAMDA certificate and has even worked professionally in her local
theatre as Gloria in Wait Until Dark and in the chorus for numerous
pantomimes. Therefore she has had extensive experience in the theatre not
only as a dancer but as a part of many different types of productions.
Since coming to University she has been heavily involved with dance. In her
first year she was an active part of Classical and Modern Dance and the Tap
society performing at many competitions and in Pizazz (the annual dance
show) for both. From 08-09 she was Show Co-ordinator on the Classical and
Modern Dance exec which demonstrates her ability to organise large groups
of people and her great time management skills. She has also taught
Beginners Hip-hop this year and Advanced Tap. This term she has just been
elected Vice President of Classical and Modern Dance for the year 09-10 and
she hopes to continue to teach for both societies. This year she was also
involved in Warwick Operas Dido and Aeneas as one of the dancers.

Set Designer - Neil Russell

Neil Russell is a second year mechanical engineer and has been a member of
Tech Crew for the last year in which he has taken an active role. He was
assistant technical manager in the WUDS production of Tis Pity Shes A
Whore, where he also was an ASM during the actual shows. He was also an
ASM for the MTW production of Company. He has helped out with the get-ins
for many productions throughout the year, including Under Milk Wood
(WUDS), A Man Of No Importance (MTW), The Body In Light (CAPITAL
Centre) and MTW Revue in the Ensemble Room. He also helped in both MTW
weekend shows, Guys and Dolls and We Will Rock You, held in the TES. For
this years SPLAT festival he will be the Assistant Technical Manager for
lighting in the main venue.
Neil has always enjoyed a challenge and believes that although he has never
done set design before, the experience gained this year in helping out in the
get-ins, which in many cases included helping construct someone elses set
design, has given him the necessary skills to complete this task with much
success.

Stage Manager Melanie Watts

Melanie is a first year English Literature student and on the Tech Crew Exec
as Publicity Officer 09/10. During her year at Warwick Melanie has been Stage
Manager for 5 very different productions from across the societies: the site-

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specific Dedorograd (Freshblood); the annual dance show Pizazz (Warwick
Tap) at Royal Spa Centre, Leamington Spa; Warwicj Arts Centre Studio slots
Tis Pity Shes A Whore (WUDS) and Company (MTW); Hal V (Shakesoc) at
Shakespeares Birthplace Trusts gardens, the Dell at Stratford and at SPLAT
festival. At SPLAT 2009, Melanie is also producing the MTW Weekend Show
Wicked and the new adaptation Warwick in the Willows (Codpiece), as well as
being the SPLAT Studio Venue Manager. This summer, Melanie will also be
Stage Managing Return To The Silence (Curious Directive) at London venue
SHUNT, following being on the assistant stage management team for Return
to the Silences original Warwick Arts Centre Studio Codpiece production and
Curious Directives award-winning visit to the National Student Drama
Festival. Melanie has always had a strong passion for theatre, particularly
musicals, and prior to Warwick, Melanie was already heavily involved in
theatre at college. She started off assisting the theatre production of Oliver! ,
going on to stage-manage for theatre productions of Bugsy Malone and the
Sixth Form Revue 2007 as well as for studio productions of Sarah Kanes
Blasted and 4.48 Psychosis.

Deputy Stage Manager Fergus Nimmo

Fergus Nimmo is in first year studying Theatre and Performance Studies. Last
year he was an ASM for the WUDS production of Dinner and also was one of
two Stage Managers for Crowskin, Fergus also stage managed the Freshblood
Panto both this year and last. His other work this year includes ASMing for
Much Ado About Nothing in the Belgrade in Coventry and Stage Managing A
Midsummer's Night Dream in the studio this term. Although never having
DSMed before, Fergus is confident he understands the position from his
backstage experience.
Tom, Matt and Steph are confident that Fergus Scottish brogue will sound
beautiful over cans.

Tech Manager Anthony Lynch

Anthony Lynch is a final year student of Comparative American Studies.
He has recently finished a year abroad studying history at the University of
South Carolina, where he took modules in intermediate and advanced sound
design for theatre, neither of which were sanctioned by Warwick University.
During the last year he has designed sound for Theatre South Carolina
productions of Fuddy Meers, Romeo and Juliet, and Crumbs From the Table
of Joy.

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During his time at Warwick he has designed sound for MTWs productions of
A Chorus Line (Main Theatre 2006), BatBoy (Studio 2007) and Copacabana
(Main Theatre 2007), for which he was also the technical manager. He also
designed sound for the WUDS production of The Night Heron (2006), with
which he also attended the National Student Drama Festival as production
technical manager. Most recently he was the Sound Designer and Technical
Manager for the productions of Return to the Silence and Tis Pity She's A
Whore in the studio and Music Theatre Warwicks production of A Man of No
Importance.
He was the Assistant Sound Designer for the 2007 production of the musical
The Last Five Years at the Apollo Theatre in London, designed sound for the
West End production of Lifecoach, and was an Associate Sound Designer for
Tick Tick Boom at the Duchess Theatre in London, 2009. At the Edinburgh
Festival 2008 he operated sound for comedians Lucy Porter, Tim Vine and
Michael McIntyre. Most recently he has produced promotional video packages
for the current West End production of La Cage Aux Folles and the current UK
tour of Little Shop Of Horrors.
He also enjoys writing biographies in the third person.

Lighting Designer Elliot Griggs

Elliot is a second year Mathematics student and the President of Tech Crew.
He has designed many shows for various drama societies; this year he
designed Tis Pity Shes a Whore (WUDS, Warwick Arts Centre Studio), Much
Ado About Nothing (WUDS, Belgrade Theatre, Coventry) and Elephants
Graveyard (WUDS, Warwick Arts Centre Studio) which was then transferred
to the National Student Drama Festival where he won the Showlight Award
for Lighting Design.
He has also designed the weekend shows: We Will Rock You, Guys and Dolls
and Mamma Mia (all MTW), and the tours of Dido and Aeneas
(OperaWarwick, Midlands & London) and 100 (WUDS, Queens University
Belfast). He has also been the Technical Manager for Tis Pity Shes a Whore,
Under Milk Wood, We Will Rock You and Macbeth. Elliot has also worked as a
Casual Technician at Milton Keynes Theatre and Warwick Arts Centre.

Sound Designer - Rob Morton

Rob is a first year engineer and in his short time here has been involved in
quite a few productions. He operated sound on the Revue (MTW), and helped

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set up for the Weekend Show Guys and Dolls (MTW). Under the supervision
of Anthony Lynch he operated sound on Return to the Silence (Codpiece/
Curious Directive) and then went on to co-sound design the show for NSDF,
winning the Best Sound Design Award. He also co-sound designed A Man of
No Importance (MTW) and Tis Pity Shes a Whore (WUDS), as well as
recently sound designing Company (MTW).
Rob has also crossed the techy/actor barrier by appearing in the Freshblood
Panto as chorus. Outside of theatre Rob writes and stars in an award-winning
comedy radio show on RaW called The Dead or Alive Show. He also writes
and records chill-out music and plays piano of grade 8 standard. He will soon
be co-musical directing the Weekend Show Wicked for SPLAT. Rob also
enjoys wearing beanie hats, but is on a summer break from it and is missing
it dearly.

Costume Design - Rosie Bristow

Rosie is a first year English and Theatre Studies student, and has a wide
range of experience and training in theatre design. Whilst at school she
designed and made traditional costumes and masks for Oedipus Rex (which
she also directed), and A-level Theatre Studies (specialising in design) has
provided Rosie with a detailed knowledge of costume throughout history as
well as practical experience including making latex commedia dellarte marks,
face painting and hand/machine sewing skills. For her final piece she
researched and created a period detail 1885 Mourning Dress including corsets
and under skirts.
Last summer Rosie completed a short course in Theatre Design at RADA, and
designed/directed a production of The Death of Isabella Bird with her
amateur theatre company NO SOUP! Productions. This has provided her with
training and experience in working under time pressure and the ability to
create/find unusual and period costumes on a very tight budget.
Whilst at Warwick she has fulfilled the roles of Assistant Costume Designer for
Dido and Aeneas, and Head of Set and Costume Designer for the One World
Week production Translations, as well as Assistant Props for Wonderland,
Assistant Producer/Head of Costume for Much Ado About Nothing, and
Assistant Costume for A Midsummer Nights Dream. She therefore has a good
knowledge of where to locally source costumes, props, materials and set
elements.
She is in the process of setting up a Set and Costume Design Society which
should be ready for the Freshers Fair 09, and enable all Warwicks drama
societies to have the recourses to produce much more ambitious shows in
terms of set and costume design.

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Costume Design - Rhianne Taylor

Rhianne is currently in her 2nd year studying History of Art. She has always
had a great interest in the theatre, performing in a variety of shows from a
very early age. But she has also enjoyed taking a role behind the scenes with
design and costume.
At school she had the opportunity to combine both of these interests, being in
the cast for school productions of West Side Story and Grease whilst also
being able to assist in the making of costumes and set design. Later she also
took on more responsibility for costumes in her school production of Little
Shop of Horrors, being part of the costume design team.
Successfully completing GSCEs and A Levels in both Art and Textiles has
given her a great advantage in areas of design, as well as improving her
practical skills of sewing and painting. She is very handy with a sewing
machine and is well known amongst friends for whipping up fantastic
costumes for simple fancy dress parties!!
Since starting at Warwick University she has been involved with MTW.
Although she has not made many appearances on the stage, she has been
actively involved with costumes and marketing for previous shows. Last year
she was heavily involved with costumes for Little Shop of Horrors, as well as
assisting with costumes for Into the Woods. This year she was on the
marketing team and assisted a little with costumes for A Man of No
Importance.
With a great interest and knowledge of the history of fashion, particularly
fashion of the 1950s, she is very excited to take on a challenge such as West
Side Story, and she feels that she has the appropriate skills and experience to
realise it successfully.

Publicity Design Oliver Baxter

Currently in his second year of his English Literature and Theatre Studies
degree, Oliver has been very actively involved with publicity design during
his time at Warwick so far. As well as studying a Marketing Theatre module
as part of his course, Oliver has gained experience in publicity design
through various means, including several WSAF shows (Cardboard
Metropolis by Hannah Tottenham,
Dealers Choice by Patrick Marber) and several high profile WUDS shows (100

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by The Imaginary Body, William Shakespeares Much Ado About Nothing, and
John Fords Tis Pity Shes a Whore). He also took part in the CAPITAL
Centres Directing the Image poster design project with Andy Williams from
the Royal Shakespeare Company. Oliver attained an A in Graphic Design
GCSE and an A grade in Photography A-level.

Head of Marketing Allie Gahan

Allie is a 2nd year Theatre and Performance Studies student with long-time
theatre and media experience. At Warwick, she has marketed the CAPITAL
centre production of Arcadia and MTW's studio show Company, both of which
achieved packed houses, as well as currently co-producing Shakesoc's Hal V.
She has also acted in A Passage to India for One World Week, and A
Midsummer Night's Dream, The Tempest and The Whale for WSAF, as well as
practicals on her course. Next year, she will also be taking the Marketing
Theatre module, which she hopes will improve her marketing knowledge.
Outside of Warwick, Allie has acted in many productions, including Much Ado
About Nothing, The Oedipus Plays and Joseph Andrews, as well as being
involved in an entirely youth run company with friends. She has worked with
Oxford's Creation Theatre and the North Wall Arts Centre giving her a better
understanding of marketing and publicity in professional theatre giving and of
how to produce a show successfully. She has also worked with BBC Radio
Oxford, giving her experience of writing copy and how the media works. Allie
was recently on the theatre team for One World Week, coordinating a
production of Translations and also joined the production team of RaW,
helping her to continually build her skills. She is also currently on the WUDS
exec in the position of Treasurer, for which she has to be organised in the
best way to use money effectively, which is vital when deciding how to
market a show in the Main Theatre.

Deputy Marketing Claire Furner

Claire is a second year Theatre and Performances Studies student. Before
Warwick she took up a number of on and off stage roles both in school and
her youth theatre whilst also spending part of last summer as DSM for
Twelfth Night at Pendley Shakespeare Festival. Since joining Warwick
University, Claire has been on the PR & Marketing Team for One World Week
and was recently elected as Treasurer for Shakespeare Society. She has
enjoyed being involved in three MTW productions, including Head of
Marketing for The Revue and is excited to be filling the role of Assistant
Director for SPLAT Fests Wicked. Claires marketing experience most notably
includes being Head of Marketing for Much Ado about Nothing, WUDS debut

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production at the Coventry Belgrade Theatre and her current role as Head of
Press Contacts for SPLAT-Fest Marketing. Claire is also looking forward to
taking up the Head of Marketing position again when Curious Directives
Return to the Silence performs this summer at SHUNTs London Bridge venue.

Producer/ Assistant Producer Dynamic

Although there are foreseeable issues related to Stephs absence in first
term, both she and Matt have talked, at length, about how they will be
overcome. By dividing the producers role into unambiguous areas there will
be no confusion or overlap between the pair, who will each fulfil specific
requirements. They have planned the division of the role as follows; both
before and during Stephs time abroad she will be responsible for
communicating between the production team and Josef Weinbergers contact,
Ian Reeder. Steph will also be in charge of the productions budget and all
that pertains to it. She will stay in contact with the media and the Arts Centre
via e-mail and telephone (utilising her Skype account). In Venice Steph will
have free internet access at the Palazzo Pesaro Papafava and therefore will be
able to hold frequent Skype conversations with Matt and the team. Steph and
Matt plan to organise a regular meeting every Sunday in which they will plan
the week ahead and discuss any pertinent developments. As the time
difference is only an hour it will not present any difficulties. They will stay in
contact with each other using facebook, Skype and e-mail throughout the
week keeping both sides fully informed.
Matt will organise weekly meetings with Tom, Fran, Sam and Tim ensuring
good relationships within the team and effective use of everyones time. He
will minute these meetings, to keep Steph up to date. He will also book rooms
for auditions and rehearsals. Matt will be performing tasks Steph cannot
perform when she is away, for example attending meetings, collecting and
posting mail and supporting Tom in his role as representative of the show in
the public eye within both student and the wider media. This will include
securing sponsorship for the show, an area in which Steph will support as
much as possible. Matt will organise socials throughout term 1 in order to
bring the cast, band and crew of the show together into a cohesive team.
On Stephs return she will continue with her previous responsibilities and take
over room bookings and mailing duties. Both Matt and Steph will now attend
meetings. This will allow Matt time to facilitate and continue good
relationships with the band, cast and crew. They will organise socials together
to ensure these good relations.

15

West Side Story

Steph and Matt are both clearly aware of their separate duties and will be
able to support each other without any overlap.

Artistic Vision
West Side story is so often performed as a ballet chant with little thought
given to the individual characters as individuals. In this production we will be
exploring how little more than boredom can turn a bunch of innocent youths
into murderers and rapists. The 1950s was the era in which the idea of the
teenager was born. For the first time the youth were projecting their own
style and way of life separate from their parents upbringing. We will reflect
this through in depth character analysis throughout the process highlighting
the connections within the group and how the pack mentality prevails and
turns these boys to killers. From Action to Diesel, Anybodys to Baby John,
Anita to Velma they are all individuals with motives and aspirations all drawn
into the situation from different pasts, a lot of time will be devoted to
understanding character and portraying it through performance.
The story would make as much sense in London today as it does for post war
New York. Transfer the Gang Warfare, rape and murder to a newspaper
headline and it wouldnt seem out of place on an Evening Standard
newsstand. This shows that as a piece of theatre the show remains relevant
and worthy of further exploration. Juvenile Delinquency is more than just a
social disease it is an epidemic. We will show in this musical that when given
no drive prospects or entertainment even innocent youngsters can become
wrapped up in the wrong crowd and turn to crime.
For this production the setting will remain in 1950s New York although we will
be pushing it towards the end of that decade. Historically this makes more
sense as Maria and Anita come as the second wave of immigrants after
Bernardo and some of the men came and set up a financial base in the first
wave. It also allows time for a Puerto Rican presence to have immerged and
have started to become a real threat to the native Jets. The slightly later
setting assists us in the theme of the birth of the teenager allowing for the
beginning of spray art graffiti and freedom to explore looser forms of dancing
that were emerging across the New York suburbs at this point.
Hells Kitchen was a poor suburb of New York that gained its name from the
high crime rate. With the rapid expansion of cities due to mass immigration
suburbs such as this became crammed and the close proximity with which the

16

West Side Story

cultures inhabit inevitably causes clashes. The Jets and Sharks are more
divided by culture than by race so we do not see the fact that we will be
unable to fill the cast with Puerto Ricans as a problem at all. The busyness of
New York will be supported by the sound and lighting with the large cast also
being used to create a frenetic energy.
There are sensitive and emotive issues explored in this piece most notably the
attempted rape of Anita in Docs drugstore. It will be staged very carefully it
must be troubling and harrowing for the audience but there is no need for it
to be graphic. Similarly the post-coital scene in Marias room will be dealt with
in an implied manner so there will be no nudity and we will ensure the actors
are comfortable in their performance of it. Throughout we will bear in mind
that the show must remain suitable for a secondary school audience.
A problem that any musical that tries to tackle things a little more seriously
than a glittery piece of Broadway chintz is how to work the dancing and
singing in a manner that fits and compliments the setting in a slightly more
realistic and brutal world. In keeping with theme of youth, the justification
and inspiration for much of the male dancing in this interpretation comes
from the footwork and formation of basketball. It is important for all the boys
to be physically imposing as a group whilst vulnerable in isolation. This tone
will be set from the very beginning.
We are aware this piece is a great challenge musically vocally and physically
and will not skirt around these issues the piece will need to be in a New York
accent and if that is a struggle for some we will just have to put in extra work
with them. Almost all the characters will be required to dance though stronger
dancers can be given opportunities to shine and weaker dancers given easier
parts through careful and considerate blocking. It will be a difficult sing
particularly for Maria and Tony but fortunately the dancing burden doesnt lie
to heavily with these characters so they can focus mainly on their vocal and
dramatic performance and we have plenty faith in the talents of MTW
members.
Benefits to MTW
A dance heavy piece will allow opportunities to some members who may have
felt marginalised in the past by shows that had more focus on the singing and
acting side and neglected this area. We will strive for a perfect balance
between the three elements.
With a minimum cast size of 37 and a large band this show will be able to
widen the participation of society members, strengthen the core and secure
the future of the society.
The Theatre show is an incredible opportunity for MTW and must be
protected. If we are to avoid the debt of previous years we must ensure that
this slot is filled with a show that can sell. As one of the best known musicals

17

West Side Story

ever, along with its involvement in many educational syllabi, we strongly
believe that this show can be marketed extremely effectively to maximise our
revenue.
We will also be looking to open production team opportunities to interested
freshers; hoping to find the next Michael Cannon in a rehearsal pianist or
introducing new techies to the wonder that is Warwick Drama.

Plot Summary
The Jets and the Sharks are two rival teenage gangs they clash frequently. It
started playfully but now the violence is escalating. It reaches a point where
lieutenant Schrank, a local policeman, and his bumbling aide Officer Krupke
feel they ought to intervene and they offer an ultimatum, if the two gangs
continue to find then they will all be sent to prison. In order to assert their
ownership of the streets the Jets leader, Riff, plans a final rumble to decide
once and for all. He plans to challenge the leader of the Sharks gang,
Bernardo, at the approaching dance at the gym. Custom dictates that he must
bring a deputy to arrange the War Council, he wants to ask his old friend
Tony but the Jets need some convincing so, it turns out does Tony. Tony is a
dreamer who is in anticipation for something big to happen in his life. At a
nearby bridal shop, we meet Anita and Maria who are Bernardo's girlfriend
and sister respectively. Maria is new to America and is excited about going to
her first dance. While she pesters her sister to alter her dress it is revealed
that she is promised to Chino, another Puerto Rican boy.
At the dance the two gangs faceoff in a competitive and flourishing Mambo.
When Tony and Maria's eyes meet across the room time seems to slow and
they approach each other. A furious Bernardo interrupts their dance and
promptly agrees to a War Council with Riff at Docs Drugstore. Tony's heart is
racing about the girl he just met and sings of her virtues. In the famous
balcony scene the two lovers meet on a fire escape and profess their love.
A Puerto Rican girl is not all so sure about their move to America she wishes
she was back in San Juan but her friends all extol the benefits of their new
home. In Docs nervously waiting for the War Council Riff tries to calm his
gang. Tony nervous about Maria convinces them all to limit the fighting to
fists. An inquisitive Schrank arrives but they mange to shake off his questions.
At the bridal shop the next day, Tony meets Maria again the surroundings put
their thoughts to the hope of their future wedding day. When Maria hears of

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West Side Story

the plan for the rumble she implores Tony to stop it and he agrees. A
sequence then occurs where all the characters' tensions and aspirations about
the upcoming night are revealed.
At the Rumble it does not take long for Bernardo to reveal a concealed blade
and the fist fight transforms into a knife fight. When Riff has the opportunity
to stab Bernardo, Tony intervenes but Bernardo takes advantage and runs his
knife into Riff. In retaliatory rage Tony turns and kills the Puerto Rican.
Instantly realising the repercussions of his actions Tony is frozen and as the
others scatter at the sound of a siren it takes tomboy Anybodys to drag him
away. Leaving the two dead bodies.
The unaware and lovestruck Maria dances around her room. Then Chino
enters bearing the news that she at first refuses to believe. Tony arrives
through her window and she is in hysterics he holds her and she calms. They
dream of a place and time where they all could get along. They plan to meet
at Docs and run away together.
The antsy Jets try to calm themselves by mimicking Krupke but the deaths
are not far from their mind. When they hear that Chino has set out to kill
Tony they disperse in order to find him before Chino does.
Anita is furious and as it is clear that Tony spent the night in Maria's bed she
passes that rage onto Maria but when Maria convinces Anita that it is true
love she eventually calms a little. When Schrank comes to question Maria,
Anita begrudgingly agrees to tell Tony she will be late. When Anita arrives at
Docs however the Jets still with the adrenalin pumping through their veins
start to terrorise her and eventually it descends to attempted rape. Docs
interruption saves her but she is so enraged that she tells them to inform
Tony that Maria is dead by the hands of Chino.
On hearing this Tony hits the streets to hunt him out, he knows the danger
but he has nothing left to lose. Chino appears out of the shadows just at the
moment that Tony sees that Maria is alive and he is shot and killed while
gazing into her eyes. This culmination of events makes the Two Gangs realise
the repercussions of their actions and as Maria weeps the Sharks and Jets
take his body away in a sombre funeral procession.
Mis En-Scne
Summer in Hell's Kitchen, New York, 1957, we see youths still and sprawled
around a fenced squalor in small groups in the evening haze and smog. We
hear the sounds of a busy city suburb, sirens, shouting and traffic. A stocky,
confident teen walks to centre stage, caught in silhouette by the warm
backlight. Silence. Facing the audience he halts, tilts head slightly to the left
and whistles the tritone and the Orchestra kicks in with the prologue and the
energy and animation of the groups picks up.

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West Side Story

The lone teen walks to one of the small groups, they rise to greet him and
pass a basketball around. When the music changes, a crisply dressed Puerto
Rican lad walks in front of them. At the sight of him they transform into one
unit and chass to surround him. Passing the basketball and pump faking into
his face to intimidate him they slowly tighten in on him until, with a whistle, a
larger group of Puerto Ricans behind them make themselves known. Freaked,
but trying to maintain dignity, the Jets scatter. One of them is followed by a
small cluster of Sharks, they trip him and the basketball rolls off stage. As he
tries to get up the Sharks kick him back down.
Obviously infuriated the lone Jet chases one and jumps on him. The Sharks
unite and start beating on this Jet but almost straightaway as the music
crescendos all the Jets run on led by Riff and all hell breaks loose. After a few
bars of one on one fighting both gangs regroup and charge en masse towards
the others at the point a moment before they would meet the music stops
and a shrill police whistle is heard. There is the dim flashing of a distant police
car stage right and Lieutenant Schrank strides on followed by Officer Krupke
struggling to keep up. The boys, a moment from total explosion have now
shoved hands in pockets and tossed weapons aside and stand in a manner
that is conspicuously innocent and, although standing separately, create an
image of faux-amicability.
RIFF [such innocence] Why if it isn't
Lieutenant Schrank.

Several boys are still

hiding their sticks
they had been
SEVERAL JETS [dancing class manners]fighting with. The
To of the day, Lieutenant Schrank.
boy A-Rab has been
fighting has a bloody
BERNARDO [one with Riff] And Officer nose but is being
Krupke!
hidden from Schrank
by some other
SEVERAL SHARKS Top of the day,
Sharks
Officer Krupke
Schrank clocking
blood on A-rabs
collar goes instantly
up to Bernardo and
stands aggressively
close. He grabs Arab by the shoulder
and draws him
alongside

SCHRANK Boy, what you Puerto Ricans

have done to this neighborhood. Which
one of 'em clobbered ya, A-rab?[A-rab
looks to Riff, who takes over with great
helpful seriousness.]
RIFF As a matter of factuality, sir, we
suspicion the job was done by a cop.
SNOWBOY Two cops
A-RAB Oh, at least!
KRUPKE Impossible!

20

A- Rab finally
catches on and looks
around to the others
proud that he has
been able to
contribute

West Side Story

The Sharks
continue to subtly
deal with their
nosebleeder. But
when he makes a
sound they thump
hom to shut him
up

SCHRANK Didn't nobody tell ya there's a

difference between bein' a stool pigeon
and cooperatin' with the law?
RIFF You told us the difference, sir. And
we all chipped in for a prize for the first
guy who can figure it out.
ACTION [indicating Schrank]Maybe
buddy boy should get the prize.
SCHRANK Don't buddy me, Action! I got
a hot surprise for you: you hoodlums don't
own the streets. There's been too much
raiding between you and the PRs. All
right, Bernardo, get your trash outa here.
[Mock Charm.] Please.

Anytime Schrank
and Krupkes backs
are turned
schoolboyesque
gestures are fired
between the gangs

Schrank is more
compassionate to
Action he talks as if
reprimanding a
wayward son.

BERNARDO Let's go, Sharks. [They exit.]

As Schrank speaks it
is clear he is fairly
jaded with his
existence and
believes that even
this beat is beneath
him

SCHRANK [to Jets] If I don't put down

the roughhouse, I get put down -on a
traffic corner. Your friends don't like
traffic corners. So you buddy boys are
gonna play ball with me. I gotta put up
with them and so do you. You're gonna
make nice with them PRs from now on.
Because otherwise I'm gonna beat the
crap outa every one of ya and then run ya
in. Say good-bye to the nice boys, Krupke.
KRUPKE Good-bye, boys. [He follows
Schrank out.]

Comic caricatured
mime physicality

SNOWBOY [imitating Krupke] Good-bye,

boys.

21

Krupke half hears

but doesnt know
how to respond and
doesnt want to
leave Schrank so
exits flitting
attention between
the lieutenant.
Eventually he
decides to leave and
runs off .

West Side Story

Characters & Vocal Ranges
Tony
A dreamer, he has left his old Gang, The Jets, behind and is starting to face
the work and prospects of Adult Life.
Tenor
B flat two below middle C -> A flat above middle C (optional C above
middle C)

Maria
A young nave Puerto Rican Girl. She is wide-eyed as she has just moved to
America
Soprano
B flat below middle C -> C two above middle C

Anita
Bernardo's balshy and determined girlfriend she has taken it upon herself to
tutor Maria in the ways of the world
Alto
F below middle C -> D two above middle C

Riff
The Undisputed Leader of the Jets, Remembers the old days of the gang with
fondness. Loyal to extremes
Tenor
A two below middle C -> F above middle C

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West Side Story

Bernardo
The Hot Blooded Leader of the Sharks
Baritone
A two below middle C -> E above middle C

Action
A short tempered and sometimes very aggressive Jet but also one of the
strongest.
Baritone
G two below middle C -> F above middle C

A-rab
A quick thinking wisecracking Jet who amongst friends is charismatic but who
fears authority
Baritone
C below middle C -> F above middle C

Baby John
The youngest Jet, drawn along by the gang, eager to please and treated as a
mascot by many.
Baritone
C below middle C -> middle C

Big Deal
Baritone
C below middle C -> F above middle C

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West Side Story

Rosalia
A Shark Girl who remember Puerto Rico with nostalgia
Alto
A below middle C -> D two above middle C

A Girl (Somewhere)
An Angelic ephereal voice (offstage)
Alto
B below middle C -> F sharp two above middle C

Two Girls (Consuela and Francisca)

Maria's friends who humour her in her doting but think she refers to Chino
not Tony. Chatty and Giggly
Alto
D above middle C -> F sharp two above middle C

The Jets
A two below middle C -> G above middle C

Diesel, The best fighter, domineering but quiet

Gee-Tar, Hyperactive and chatty
Tiger
Mouth Piece, has a stammer but fancies himself as a hard man
Snowboy
The Sharks Girls
Estella
Margurita

A below middle C (optional F below middle C) -> E two above middle C

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West Side Story

The Following are comedy parts from the song Officer Krupke and will be
apportioned to various Jets:
Judge
Bass
A two below middle C -> middle C

Psych
Baritone
D below middle C -> middle C

Social Worker
Baritone
B flat two below middle C -> F above middle C

Other Parts
The Adults
Officer Krupke, a bumbling neighborhood police officer
Doc, wise old owner of the Drug Store
Lt. Schrank, the precinct's police Lieutenant
Glad Hand, School president keen to bridge gaps in the community
The Sharks
Chino, Young and shy, swept up by the gang culture
Pepe, Bernardo's tightly organised deputy he makes sure all the Sharks look
sharp
Indio
Luis
Anxious
Toro
Nibbles
Moose
Juano
The Jets' Girls
Velma,
Graziella
Anybodys, a tomboy who wishes to become a Jet
Minnie

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West Side Story

Clarice
Pauline

F:14 (with probable supplementing of more dancers) M:24

The buzz already created by this show means that we should not have a
problem securing this size of cast. We will explore the characters in depth
once cast in order to create individual back stories and characteristics.

Music

West Side Story is a musically complex work. It incorporates unusual

melodies, such as the recurring use of the tritone interval, which is rarely
used in conventional melodies because of its atonality. Such unfamiliar
melodic techniques compliment the tension and uncertainty that is a theme
throughout the musical. The music also features many intricate rhythms,
drawing influences from Jazz and Latin styles of music. These contrasting
musical styles cleverly accompany the clash of cultures that occur on the
stage. However, West Side Story also features some wonderfully lyrical
melodies, such as Maria, that have helped the show gain its incredible
reputation. The diversity of the music keeps the audience engaged
throughout the show, whilst the recurring themes and motifs make sure it
never loses its identity.
Orchestration
The orchestration for West Side Story features a sizeable band, including:
Reed 1, Reed 2, Reed 3, Reed 4, Reed 5 (Bassoon), Horn, Trumpet 1,
Trumpet 2, Trombone, Piano, Synthesizer, Guitar, Percussion, Drums, Violins
1 & 2, Violin 3, Cello, and Bass. The variety of instruments that can play
Reeds 1-4 is very flexible, but is likely to comprise of a Flute, a Clarinet, a
Tenor Saxophone and a Baritone Saxophone. There is also the possibility of
doubling up on important parts, such as Trumpets 1 & 2.
Additional Vocal Commentary

West Side Story is a rhythmically challenging musical, for both the performers
and instrumentalists. However, such syncopations and cross-rhythms
contribute immensely to the vibrant combination of New York and Puerto

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West Side Story

Rican characters. The Vocal MD will, first of all, learn all vocal parts over the
summer break. She feels it is important for her to know the pieces inside out
before attempting to teach some challenging parts to the cast. In addition,
prior to the first rehearsal with the cast, the Vocal MD will run through the
entire libretto with the rehearsal pianist; this will ensure that any difficult
corners are approached and dealt with beforehand to avoid confusing cast
members in rehearsal. Due to the rhythmic complexities it may sometimes be
necessary for the rehearsal pianist to break down the reduced score. For
example, in Jet Song Riffs melody crosses over with the parts of both the left
and right hand. By practising first of all with just the left hand and then
adding in the right, the actor will become familiar with the different rhythms
that will be performed by the orchestra and more importantly how they will fit
with the vocal line.
In terms of accents whilst singing, there are several pieces that will be
focused on. For example, in Jet Song and Gee Officer Krupke! the New York
accents are particularly noticeable in the pieces verses. This is due to the fact
that the words seem to be half-sung / half- spoken in the way that they tell a
story. Therefore, in these pieces it is necessary to focus on the use of New
York accents. This also applies to Puerto Rican accents in songs such as
America and I Feel Pretty. However, in some pieces it will be necessary to
focus upon the vowel sounds which will produce the best sound, as opposed
to those which are appropriate to the regional accent. For example, in the
higher sections of One Hand, One Heart, Maria and Tonight it is better to use
natural vowel sounds than regional vowel sounds in order to get the best
quality sound out of the performer.
Vocal warm-ups will be tailored to the pieces that are being rehearsed. For
example, in a warm-up for America, the Vocal MD would begin by asking the
cast to clap the most predominant rhythm of the piece, before adding in a
harmony for them to sing the rhythm to. However, in a rehearsal of One
Hand, One Heart, for example, the warm-ups would focus upon the pieces
most predominant vowel sounds and how to achieve a lyrical, smooth melodic
line.

27

West Side Story

Choreography
Sam is really excited to be working on a show that
has such a large emphasis on dance and we hope to
involve as many dancers and non-dancers as
possible. We really want to portray the gang
mentality between the Sharks and the Jets and have
some choreography ideas involving basketball and
other sports to achieve this. She is really looking
forward to being able to choreograph on such a
large scale and in different styles. We are aware
that not everyone who will be best suited for singing and acting parts may be
able to dance but as Sam has shown she is experienced in working with
people with little or no dance training so this will not be a problem. We have
planned to have a dance workshop prior to the auditions and some fitness
classes throughout the rehearsal period to prepare those who do not normally
dance. Similarly Sam is aware that she has a lot of other commitments with
Classical and Modern Dance but thinks this will only help as there is a
possibility of bringing in more dancers to fill out the chorus and hopefully
allows her to use some people as dance captains in order for her to be able to
rehearse more than one number at a time.

Set Design
West Side Story is set in the late 1950s in a rundown area of New York. The
musical centres on the communal basketball courts, surrounded by chain link
fencing. This is going to be the main focus of the set design. The idea is to
have chain link fencing that can be pushed on and off by either cast or ASMs.
Some of the chain link fencing will be distressed and torn (like much inner city
chain link fencing is), creating gaps through which the actors may pass, as
well as doors built into the chain link fencing.

For the balcony scenes, there will be a raised steel deck on the downstage
left. This will have a balustrade around it, creating the aesthetic of a New
York fire escape and ensuring the safety of the actors. The steel decks
supports will have chain link fencing around them which will be climbable by
the actors. We will have wooden panels attached to areas of the fencing

28

West Side Story

some of which will be sprayed with graffiti, to further enforce the run down,
inner city New York scene we are trying to convey to the audience.
We also will have a truck of size 8ft x 9ft that will have Docs drug store on it,
and will be wheeled on for the necessary scenes, which will add some colour
to the set when not directly in use. When reversed, the truck will transform
into a broken wall that can be used in the staging to create visual variety and
to frame the scene. To reinforce the idea that we are depicting a basketball
court, a backboard and net will be flown in for the relevant scenes.
The moveable chain link fencing will be placed on wheeled bases that can be
moved on and off when required. The chain link fencing itself will be attached
to a wooden frame, which can then be painted to give a metal effect. The
idea would be to have 3 lengths of fencing of 5m, 2 lengths of fencing of 3m
and 1 length of fencing of 4m. These can then be arranged to divide the
stage into different sections. We will also require approximately 6m of chain
link fencing to go around the balcony.
Using the information above, we will need around 31m of chain link fencing.
Using prices from a leading fence company, http://www.jacksonsfencing.co.uk/pages/products/metal_prod_det.aspx?tpc=AY&fmc=CC&fnc=BL, it will cost
283.95 excluding VAT, which at the present 15% rate, will cost 326.54 with
VAT (3 rolls of length 12.5m and height 2.75m (approx 9ft), product code
305000). It is possible to use 3 rolls splitting each roll into the following
lengths:
5m 4m 3m
5m 5m
3m 6m
Under further research a cheaper alternative may be found, though at the
moment this is the cheapest company that could be sourced.
The one problem that has come about is the fact that climbing up the side of
the balcony could potentially lead to the steel deck tipping. This can easily be
resolved by adding more steel deck to the back of the balcony, off stage, so
that the centre of mass, with the actor climbing up the side, will be within the
legs of the steel deck. This should therefore mean the steel deck would not
tip over when climbed. Another issue is to make sure that the chain link
fencing will not fall over when pushed. This should be achieved easily with
adequate diagonals coming down from the side of the fencing to the base,
adding extra stability to the frame.

29

West Side Story

Costume Design

West Side Story is a story about young people who are trying to find their
own identities as teenagers. They are rebelling, and no longer wish to be
clones of their parents. Therefore their costumes need to reflect this
independence. In this production the costumes will be kept within its original
context, which is 1950s New York.
The two gangs come from opposing cultures, and this will be represented in
their costumes. They will each wear distinctive colour schemes and slightly
different styles of clothing to differentiate between each gang.
Jets
The Jets costumes must reflect their lively, playful, flesh and vibrant nature.
All of the Jets, boys and girls, will therefore wear various shades of blues,
greens and yellows. As discussed earlier, the Jets costumes in particular must
represent this new teenage culture.
The Jet boys will be very casually dressed in jeans, plain t-shirts and sports
jackets. In order to keep a 1950s style the jeans should be straight legged.
They should also be quite flexible due to the dancing involved. The ends of
the jeans will also be turned up slightly to reveal converse style pumps and
brightly coloured socks. These costumes will be relatively easy and cost
effective to produce. It is reasonable to assume that all the boys will own a
pair of jeans, or will be able to borrow a pair. This also applies to the
converse style pumps, as they are very fashionable at the moment. T-shirts
will be plain round neck or polo shirts. If cast does not already own suitable tshirts they can be bought extremely cheaply from budget retailers. The most
difficult element for the Jet boys will be the 1950s style sport jackets. Vintage
jackets are available to buy from specialist retailers, however they are not
cheap. Instead, very lightweight plain zip-up jackets can be bought from
budget retailers which can be easily customised to a more 1950s style. Jet

30

West Side Story

boys will wear these costumes throughout the entire show, however during
the Dance at the Gym scene they will put on semi-smart jackets over their tshirts and jeans. The jackets should be quite brightly coloured. This type of
jacket will be available at very low prices from charity shops of from the back
of dads wardrobes!!
The character Anybodys, although a girl, is a tomboy, so will wear a very
similar costume to the Jet boys.
Hair and make-up: Scruffy, dirty; perhaps a few dirty matches on their
clothes.

The Jet girls should be dressed cool and sophisticated, whilst still keeping a
fresh, youthful appearance. Slim skirts from the waist to the just below the
knee are most preferable, although slightly fuller skirts would still be
appropriate. Slim skirts could have large slits of the side to allow movement.
Skirts could be worn with very simple straight lined tops such as fitted shirts
or high necked vest tops. The Jet girls will have two costumes each, one
casual costume and one for the Dance at the Gym. These two costumes will
be very similar in style however the costume for the dance scene will be a
little more elegant, perhaps dresses, and then skirts and tops for their casual
costumes. The girls costumes, although a little more complicated than the
boys, will still be very feasible to get hold of. Due to the recent fashions,
many of the cast members may already have suitable skirts. If not, they will
be very easy to make ourselves. Shoes can be plain character shoes or
dancing shoes with a small heal as they will need to dance in them. A lot of
cast members will probably already have suitable shoes, especially if they are
from a dancing background, if not they should be relatively easy to get hold
of suitable shoes.
Hair and make-up: Simple and classic, but still quite youthful.

Sharks

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West Side Story

The Sharks are a much more fiery, passionate and exotic gang, therefore they
will wear various shapes of reds, oranges, pinks and purples to reflect this.
The Sharks come from quite a traditional culture, so whilst this idea of
becoming a teenager is still very relevant, their costumes will be a little
smarter, and a little less rebellious than the Jets, although still very youthful.
Black jeans would be preferable, although plain black trousers may also be
appropriate. As with the Jets, the trousers will need to be flexible to allow
movement, and they will also be turned up to show converse style pumps and
bright socks. Sharks will also wear plain t-shirts, however may also wear
casual shirts over the t-shirts. Sports jackets would not really be appropriate
for the Sharks, as they were more an American fashion, so instead the Sharks
could wear cardigans or waist coats to add a little more to their costumes.
Like the Jet boys, the Shark boys will wear the same costume throughout the
show, and add a jacket for the Dance at the Gym scene. However the Sharks
jackets will be slightly smarter than the Jets. Their jackets will be darker in
colour and plain black jackets will probably be suitable.
Hair and make-up: Hair could be slicked back and fake tan could be applied to
give more of a sun-kissed look!

The Shark girls are bold, sexy and a little more traditional in their style. Their
costumes will consist of much fuller skirts than the Jets, with more layers,
details and patterns. Also from the waist to just blow the knee, these skirts
could be worn with off the shoulder tops, halter necks or vest tops detailed
with bows etc. Like the Jet girls, the Sharks will also have two costumes,
casual wear and a costume for the dance scene. Again, the dance wear will
be a bit more elaborate. Character or dance shoes will also be worn.
Hair and make-up: Also quite classical but a little more exotic, perhaps
colourful eye-shadow and bright red lipstick. Hair will be more voluptuous and
natural than the Jets, with large curls and waves. Like the Shark boys, fake
tan could be applied.

32

West Side Story

Principal Characters
Tony
Tony has grown out of the Jet gang a little, so his costume should be a little
more sophisticated, whilst still reflecting his roots. He should wear turned up
jeans and converse like the rest of the Jets, but with a loose shirt. The shirt
should be pale blue, keeping him fairly neutral but hinting at which gang he
belongs to. At the end of the show Tony is shot, so fake blood will probably
be used. This blood probably will not wash out each night, so a different shirt
for each night may be needed. However plain blue shirts are very easy to get
at a very low cost, so this will not be a problem to the budget!

Maria
Marias costume should also be quite neutral, reflecting her innocence and
youth, but with hints of the Sharks colours. In her first scene Anita is making
her dress for the dance so Maria appears just wearing a white slip or
undergarment. This will be worn throughout the whole show underneath all
of her costumes. This allows for easy changes of costume on and off stage.
At the end of the first scene Maria puts on the dress that Anita has been
making on stage. The dress for the dance has to be white and very innocent,
in order to match the dialogue, but very pretty. A red rose, bow or band
around the waist could be the small reference to the Sharks. Marias casual
dress should also be very innocent and pretty, but with a bit of colour,
perhaps peach or light pink. There are a couple of scenes where Maria is
wearing a night dress, this can just be a very light silky or lacy dressing gown
to be worn over her undergarment. Finally, Maria has one more costume
change. Towards the end of the show Maria and Tony spend a night together.
After this scene Maria could change into more mature and provocative red

33

West Side Story

dress to show her transition from innocence to womanhood, however this
dress should still reflect her character and be very simple and modest.
Marias make-up should be very elegant and not too heavy, i.e. no eyeshadow and quite neutral lipstick. Her hair could be quite soft and pretty,
perhaps loose curls with the top part pinned up.

Anita
Anita will be dressed like the rest of Shark girls, sexy, voluptuous and fiery;
however there a few details about her costume that need to be mentioned. In
the scene with Maria before the Dance at the Gym, Anita is making Marias
costume. As she is in the dress shop she should be wearing work clothes.
However the dance scene is straight after this scene, so there is little time to
change, therefore Anita could wear an overall over her dress for the dance
which can be quickly taken off. Towards the end of the show, after Bernardo
and Riff have been murdered, Anita goes to Docs store to find Tony. In this
scene she accosted quite heavily by the Jet boys. To make this scene more
dramatic it would be good if her cloths could get ripped a little. To do this
economically she can wear a specific top for this scene which has been lightly
tacked together so it can be ripped apart quite easily and then re-tacked
together after each performance.

Riff
Riffs costume will be as described above for the Jet boys. However at the end
of the play he gets stabbed. Therefore, similar to Tony, he will need a fresh
shirt each night. But they will be a plain t-shirts, so very cheap.
Bernardo
Same costume as the rest of Shark boys, but same applies to Bernardo as it
does to Tony and Riff, he will need a fresh top each night.
Other Characters

34

West Side Story

Lieutenant Shrank
Lieutenant Shrank will be dressed in a classic 1950s grey mens suit and hat,
with a white shirt and thin black tie. However his costume should be a little
scruffy and worn out, to show the torment he has gone through trying to
keep the peace in the neighbourhood.

Officer Krupke
Plain navy blue or black matching trousers and shirt can be worn, with Police
badge sewn on. Worn with a classic American police cap, which can be easily
found in fancy dress stores. The shirt must be oversized to make him look a
little frumpy and silly.
Doc
Docs costume will be very simple and plain, perhaps a little scruffy; plain
shirt, plain trousers and a grubby beige apron.
Costume Costs
Although West Side Story consists of a very large cast, we think it is possible
to produce all of the costumes on a reasonably low budget. Due to the recent
fashions, a lot of costume elements may already be owned by the production
team, cast members and other members of MTW which can be borrowed for
the show. A lot of items will be available at a very low cost from charity shops
and perhaps auctioning websites such as Ebay. Plain T-Shirts for the boys will
also be very easy to get. Even if they have to be bought, such t-shirts can be
bought for a couple of pounds for low budget retailers such as Primark. Skirts
and dresses for the girls will be the hardest items of clothing to get hold of
cheaply, however they are very easy to make on a low budget, as we have
access to our own sewing machines and fabric can be bought at a very low
cost.

35

West Side Story

Props
The minimalist nature of this piece means there is not a long props list the
majority of the budget will be used on basketballs which will be used in
rehearsal predominantly. We will make a foam basketball for some scenes to
prevent the noise of it bouncing. We will be careful to fit in with the 1950s
aesthetic throughout.
Prop
Police Whistle
Truncheon
10 plain basketball
1 Foam Basketball
Sticks
Imitation Knifes x 4
Gun
Top Hat
Dress Makers Mannequin
Coke Bottles
Ribbons
Empty Spray Cans
Crates
Cards
TOTAL

Cost
10 (ebay)
5 (Stone the Crows)
50 (Local Sports Shop)
30 (Make: Foam, Tape and Paint)
FREE (From Nature)
24 (Stone the Crows)
3 (MTW own gun 3 max. for
blanks)
FREE (Owned)
FREE (sourced from family friend)
30 (From Internet)
5
FREE (From Set Painting)
FREE (DC Cupboard)
FREE (Owned)
162

Marketing 'West Side Story'

One of West Side Story's real strengths as a submission is its
marketability, which is absolutely vital for an MTW show in the main theatre.
Thanks to the 1961 film and its success on Broadway, with its take on the
Romeo and Juliet story, many people know and love the show, which is
already an excellent basis for our campaign. The key will be to push the
fresh, new take on the show, with maximum exposure on what will be a
fantastic production, to ensure packed houses every night, particularly in the
main theatre where we have an opportunity for even larger capacities than
the studio. Initially with the publicity design, we will be looking to highlight
the overall feel of the show; the grimy, gang ridden underworld of youth,
drawing inspiration from 1950s graffiti, basketball games, gangs, danger and
excitement. As one of the themes of the show is masculinity, we will be
looking to produce a campaign that equally appeals to men, who may be

36

West Side Story

naturally less inclined to go to a musical than women, ensuring we are not
alienating any potential audience members.
Conventional Marketing Strategies

Posters and Flyers

-Flyering in key areas on campus ( Students Union, outside the Chaplaincy,
Library, on the Piazza, in the Humanities Building, Halls of Residence).
-Gaining permission in Coventry and Leamington crucial (libraries, tourist
information). Colour posters in prime spots on campus (Arts Centre Boards,
Students Union, Music Centre)
-black and white (on coloured paper to stand out) postering intensively two
weeks before show.
We will be looking to order:
5000 colour A6 flyers (from AdvantageDigitalMedia.co.uk) only slightly
more expensive than ordering 2500
20 colour A3 posters (Rocket Print)
300 b/w photocopy A4 posters (SUHQ)

Marketing Team
Allie and Claire to coordinate:
-Large Cast to be involved with postering (knowing this from start)
Recruiting marketing team via MTW email (as with Company) to get
freshers involved.

Hoodies
Hoodies to be ordered for cast, crew and band to be ordered at the end of
Term 1 and worn in the weeks before the start of the show.
Press

Interviews on RaW (with 'Up Your Arts')

Boar Theatre column (this is currently being organised by DC) +
advertising poster
Sending press packs to Coventry Gazette and Leamington Observer and
organising interview with BBC Coventry and Warwickshire

Emails and Viral Marketing

Society Emails
Facebook/Twitter advertising. Group and event.

37

West Side Story

Schools and Youth Groups
-We will be contacting all local secondary schools in Term 1, particularly
emphasising not only West Side Story which is studied on the Music syllabus,
but also the Romeo and Juliet connection, a set text for GCSE and A Level
English. Block-booking aim.
- Youth groups: play's youth issues key feature and very relevant.

Website
- Seb Dangerfield website designer. Website to be designed in reference to
final publicity design. Cast biographies, dates of show, link to Arts Centre
website.
Non-Conventional Marketing Strategies

Teaser Campaign
-Focused on campus to gain hype. This will be discussed in more detail
following submissions, but a preliminary idea is, similarly to the chalking used
for previous productions (though slightly overused now) to begin to graffiti
(probably with chalk) slogans of the rival gangs around campus, for instance,
'Jets Rule' or 'Sharks were here'. We will also speak to the Union about the
possibility of erecting a temporary graffiti wall on campus which we could
spray paint slogans onto and encourage passers-by to write on, or engage
with in some way. This will occur three weeks before the production (for
instance Week 2 if the show is in Week 5).

Publicity Stunts
-This teaser campaign will lead up to some larger publicity stunts, in the
piazza or around campus (once permission is gained from the Union). Early
ideas are arranging some form of collaboration with dance societies such as
Break Dancing, to workshop with the cast to create some form of display, or
create a kind of flash mob which starts with people clicking their fingers
(something associated with the show). Essentially, we want something quick,
adrenaline fuelled to occur almost violently to break out, before disappearing
the nature of the show. Another idea is to arrange a basketball social or
tournament, possibly for charity as basketball is a key part of show.

Possible sponsorship/Social
-We are looking at having a social to gauge excitement about the show at the
end of Term 1. One current idea is to approach Dockers, the 1950s diner in
Leamington, which we could possibly book, or try to arrange sponsorship with
in exchange for advertising. Alternatively, events in Kelseys or TJs work well
for socials or possible fundraisers.

38

West Side Story

Publicity Design
Having the play set in New York, we want our publicity campaign to
communicate the stifling heat and claustrophobic nature of inner-city life,
focussing specifically on the grimey backstreets, where gang culture is
prevalent, and where much of the gangs' conflict is carried out over a streetbasketball court. Aiming to convey the relationship to gang culture which the
play has, whilst also emphasising the startlingly young age-bracket of some of
the youths who become involved, we would like to focus much of the publicity
around the motif of basketball, using jerseys, courts, poses and basketballs
themselves as strong recurring images in the campaign. The use of a sport,
which is essentially just a game, hints at the child-like innocence of some of
the characters involved, making the violence carried out in the play all the
more shocking. Using the central motifs to carry the designs, the publicity will
also utitlise images of fencing (such as the widely used chain-link style on
street basketball courts) to demonstrate the cut-off, isolated nature of the
community and to emphasise a sense of restriction and confinement, whilst
also adding a menacing and threatening tone to the material. The subtle
presence of blood is also potentially a theme we may explore, to hint at the
violence that emerges later in the production. Graffiti is also a strong
influence in the design element of the publicity, though it must be ensured to
be suitable for the period it is set in.

Lighting Design

West Side Story is mainly set down back streets, under motor-way overpasses
and on fire escapes. The set uses steel fencing to create tight boxes, the
lighting will not completely follow this. It will often be a lot softer, but harsh
in colour. The aim is to produce an almost film noir effect, focussing carefully
on the shadows. The lighting will be very directional, often coming across the
stage, rather than directly from above. This will be even more apparent as
the Jets and Sharks prepare for the rumble, the action continually cuts
between the two gangs with lights cutting across to either the side of the

39

West Side Story

stage for each section. As the show is so dance orientated, there will be
shins, mids and tops placed at each exit down the stage.

Sound Design
The style of West Side Story is very naturalistic. This will be
reflected in the mix of the band, with close instrument miking
and careful use of compressor and reverb effects. For vocal
reinforcement, lapel mics will be used which will be located in
the hairline to give a naturalistic tone. The in-house PA will be Lapel microphone
used to amplify both the band and vocals, but also two
speakers will be placed at the front to fill out the
vocal mix, again for a more naturalistic sound. For
the chorus parts, two floor mics will be placed on
stage to help amplify the vocals over the band.
The sound effects, for example New York soundFloor Microphone

scapes, will be sourced from the Tech Crew SFX

library and played out through the main speakers and from the rear speakers
in the theatre to give an effective atmospheric sound.
Special Properties

West Side Story involves the use of replica and firing guns. MTW own both of
these, the latter is stored safely in the Arts Centre. With the prior permission
of the House manager, these may be used on stage. However, for the
purposes of this show, it is possible to use an unloaded gun and an
accompanying sound effect as the firing gun is actually used offstage. The
guns would be the responsibility of the stage manager.

Auditions
The format of auditions needs to take into account the 3 areas of
performance that West Side Story requires, as such they will encompass a
song, a piece of dialogue and a short dance sequence.

40

West Side Story

We know that having to dance may intimidate some MTW members but we
will emphasise throughout that we are doing it to identify their ability to move
to music we are not looking for prima ballerinas; Sam will specially
choreograph to make it simple to begin with and progress to harder
movements. The dance will be taught at a pre audition workshop and will be
recapped a few times a day in special sessions during the auditions weekend.
The songs will be extracts from Maria and the Jet Song for the boys and I
Feel Pretty and A Boy Like That for the girls. The scripted dialogue will be
chosen from a fairly selection and some auditionees may be given a few
pieces to read in order to test them in a number of scenarios.
Depending on the turn out of the first round of auditions we may seek to hold
dance specific auditions to extend the chorus and assist the rest of the cast in
learning routines.

Rehearsals
We want to make sure that character drives this piece at least equally to plot
and spectacle when planning rehearsals we want to achieve the perfect
balance. Below we have included a draft rehearsal plan but we will meet
weekly to check progress and redraft future weeks to ensure effective use of
our limited time.
In order to explore gang mentality we will use rehearsals to explore isolation
and belonging. We will achieve this through a series of games and
experiments with which we hope to build individual character identities. The
gang work will be explored further by staging a basketball match between the
Jets and Sharks, Basketball drills will be used as a key rehearsal tool. This will
help with the understanding of the roots, and fluidity of the movement.
Three rehearsals a week may seem very frequent but with a cast of this size
we believe it is necessary. We will be careful to ensure that people are only
called in to rehearsals that they will be required for, we do not want to waste
anyone's time.
Term 1 Week 6 Tom will be holding one to one rehearsals with the cast to
ensure that they are confident with their characters. Closer to the show week
we will book extra rehearsals as required.
To make sure that plenty of time is allowed for the band and cast to learn
their parts we will be paying for extra weeks of libretto and score hire.

41

West Side Story

Rehearsal Schedule
Week
2
3

10

Cast
Sunday (After weekend
show) Audition Workshop
Weekend to early week
Audition
Thursday and Friday Recalls
Saturday- Cast list out
Wednesday Read through
whole cast introduced to
show then watch film
Saturday - Fitness and
Physique
Sunday - Fitness and
Physique
Wednesday Vocal
Rehearsals
Saturday - Fitness and
Physique
Sunday Basketball Game
Wednesday Vocal
Rehearsals
All Week- One on One
Rehearsals
Saturday - Fitness and Dance
Sunday Character Work
Wednesday Vocal
Rehearsals
Saturday - Choreograph
Dances & Character Work
Sunday Choreograph
Dances & Character Work &
Accents
Wednesday Blocking &
voice
Saturday - Dance & Text
Sunday - Fitness and
Physique
Wednesday Blocking
Saturday - Fitness and
Physique
Sunday - Fitness and
Physique
Wednesday Finish Blocking
Act 1

Production Team

Band

Watch film with

cast
Final Set Designs
to luke
Publicity design
and blurb to AC

Publicity Ordered

Auditions

Hoodies Ordered
Social

42

Social

West Side Story

Christmas
1

2
3
4
5

Social
Learn Lines
Saturday - Recap
Sunday Dance and
Blocking
Friday Vocal Rehearsals &
Blocking
Saturday - Blocking
Sunday Blocking
Friday Vocal Rehearsals
Saturday - Finish Act 2
Sunday Run Show
Friday Polish
Saturday - Run Show
Sunday - Polish
Wednesday Band Run
Saturday Run Show (with
band)
Sunday Run Show
Tech
Dress
Perform their little hearts out

Publicity ordered
Scores arrive
Cheques in
WednesdayRehearsal
Flyering

WednesdayRehearsal

Posters
Flyering

WednesdayRehearsal

Flyering

Wednesday-Band
Run

Tech
Dress

Saturday- Band
Run
Tuesday - Tech
(Sound Check)
Dress
Play wonderful
music

Proof of Rights
Contact via e-mail:
Dear Stephanie,
Thank you for your email and this show is currently available, please email the name
of your organisation and postal address so we can sort out the application forms for
you.
Kind regards,
Ian Reeder
Licensing Department
JOSEF WEINBERGER LTD./ GLOCKEN VERLAG LTD.
12 - 14 Mortimer Street
London, W1T 3JJ
Email: ianr@jwmail.co.uk
Visit our websites at:
www.josef-weinberger.com < http://www.josef-weinberger.com>
<http://www.glockenverlag.com>

43

www.glockenverlag.com

West Side Story

-----Original Message----From: Stephanie.Allen@warwick.ac.uk

[mailto:Stephanie.Allen@warwick.ac.uk]
Sent: 13 May 2009 17:24
To: ian reeder
Subject: Rights for a production of Westside Story
Dear Ian,
I am just writing to clarify an e-mail Tom Stickland sent to you regarding
the rights to Westside Story. We are hoping to put on the show next
spring, in the Warwick Arts Centre theatre, over 4 days, including a
matinee performance, the dates would be 10th February - 13th February,
with two performances on the 13th.
Would it be possible to reserve performance rights on these days?
Any help would be much appreciated,
Stephanie Allen (producer)

Dear Stephanie,
Thank you for your email and the forms are attached for you.
Kind regards,
Ian Reeder
Licensing Department
JOSEF WEINBERGER LTD./ GLOCKEN VERLAG LTD.
12 - 14 Mortimer Street
London, W1T 3JJ
Email: ianr@jwmail.co.uk
Visit our websites at:
www.josef-weinberger.com < http://www.josef-weinberger.com>
<http://www.glockenverlag.com>

www.glockenverlag.com

-----Original Message----From: Stephanie.Allen@warwick.ac.uk

[mailto:Stephanie.Allen@warwick.ac.uk]
Sent: 25 May 2009 15:49
To: ian reeder
Subject: RE: Rights for a production of Westside Story
Dear Ian,
The organisation hoping to put on the performance is Music Theatre
Warwick, a drama society at the University of Warwick. The address is:
M.T.W
University of Warwick Student Union
SUHQ
University Of Warwick
Coventry
CV4 7AL

44

West Side Story

If you need further information please get in touch,
Regards,
Stephanie

The Budget
Ticket Prices
Seat Type 1 (e.g. seats)
Seat Type 2 (e.g. benches)
Seat Type 3 (e.g. floor)
Seat Type 4 (e.g. restricted view)

Number
527
0
0
0

Normal Price
7.00
0.00
0.00
0.00

Conc. Price
6.00
0.00
0.00
0.00

Weighted Average Ticket Price

527

7.00

6.00

Number of performances
Total number of tickets

5
2635

Box Office Rate

10%

Incoming
Amount

Notes

Sponsorship
100% ticket sales @ conc. price

0.00
14,229.00

Total Potential Incoming

14,229.00

Outgoing
Amount
General
Arts Centre Theatre Hire
Production Rights

Total General Costs

Set
3 roles of fencing, 12.5 by 2.75
Truck bases
Frames and Braces
Boards x 5
Extra

Notes

1,300.00
640.00
510.00
50.00
1,940.00

326.54
120.00
100.00
35.00
30.00

45

See attached Proof of Rights

Hire of Libs and Score + extra weeks
Libretto Return

West Side Story

Doc's Truck
Paint
Total Set Cost
Technical
Gels
Haze
Ground Row (5 units) @
25.50ea
Gobos
Mics
Total Technical Cost

130.00
150.00
891.54

80.00
25.00
127.50
45.00
300.00
577.50

Props
Total Props Cost

162.00
162.00

Costume
Jet Boys
Shark Boys
Jet & Shark Girls
Maria
Anita
Lieutenant Shrank
Officer Krupke
Doc
Extra
Contingency
Total Costume Cost

192.00
90.00
140.00
22.00
21.00
0.00
13.50
7.00
28.00
30.00
543.50

Marketing
5000 Flyers
20 coloured posters
Postage and Packaging (est.)
300 b/w photocopies
Total Marketing Cost

74.50
15.30
15.00
15.00
119.80

Total Outgoing

4,234.34

Break Even Point

Income per Average Ticket
Number of Tickets to Break Even
Number of Tickets per Night
Break Even Point

Normal Rate
6.30
673
135
25.6%

Budget Break Down

Theatre Costs and Seats
Number of Seats: 543

46

Conc. Rate
5.40
785
157
29.8%

West Side Story

To be removed (sound desk): 16
Total: 527
Four evening performances: 1040
Extra Matinee Performance: 240
Box Office fee: 10% gross sales + 15% VAT
Orchestral and Vocal Costs
A standard set of rehearsal material comprises:
30 Lib/vocal books, 2 Piano Vocal Scores, 1 Choreographic Manual & 1 Piano
Conductor Score (in 2 volumes)
The rental charge for a standard set of rehearsal material is:
245.00 for a basic three months' rental period terminating on the date of
your final performance
60.00 for each additional month's rental prior to the basic 3 month's period,
which we feel we require.
Orchestral Score rental charge for four weeks is 170.00.
Additional weeks: 35.00 per week. We require one additional week of hire.
Royalty Charge
15% of total ticket sale revenue or a minimum of 98.00 per performance,
whichever is the greater amount. (The royalty charge is subject to VAT at
15.0 %)
Costume Budget Breakdown
Item

Cost

Jet Boys
Jeans
Shoes
T-shirt
Casual Jacket
Trimmings
Smart Jacket
Total

0.00
0.00
2.00
5.00
5.00
4.00
192.00

Shark Boys
Jeans
Shoes

Source

actors own
actors own*
primark
primark
fabric shop
charity shop
16 each x 12 (inc. Anybodys & Tony)

0.00
0.00

actors own
actors own*

47

West Side Story

T-shirt
Waist
coat/Shirt
Smart Jacket
Total
Jet/Shark Girls
Top & Skirt
Smart Dress
Trimmings
Shoes
Total

2.00

primark

3.00
4.00
90.00

5.00
6.00
3.00
0.00
140.00

charity shop
charity shop
9 each x10

fabric shop
fabric shop
fabric shop
actors own*
14 each x 10 (exc. Maria, Anita & Anybodys)

Maria
Slip
Dress 1
Dress 2
Trimmings
Shoes
Total

5.00
7.00
7.00
3.00
0.00
22.00

oxfam online
fabric shop
fabric shop
fabric shop
actors own*

Anita
Top & Skirt
Dress
Trimmings
Overall
Ripped top
Shoes
Total

5.00
7.00
3.00
4.00
2.00
0.00
21.00

fabric shop
fabric shop
fabric shop
charity shop
fabric shop
actors own*

Lueitenant Shrank
Suit
Hat
Shirt
Tie
Shoes
Total
Officer Krupke
Shirt
Trousers
Hat
Badge
Shoes
Total

0.00
0.00
0.00
0.00
0.00
0.00

3.00
4.00
4.50
2.00
0.00
13.50

designers own
designers own
actors own
actors own
actors own

charity shop
charity shop
online costume shop
online costume shop
actors own

48

West Side Story

Doc
Trousers
Shirt
Apron
Shoes
Total
Extras
Spare shirts x 4
Spare T-shirts x
8
Total
Contingency
Total

4.00
0.00
3.00
0.00
7.00

charity
actors
charity
actors

shop
own
shop
own

12.00

primark

16.00
28.00

primark

30.00

*in case some actors can't supply own shoes

543.50

49