The money owing: producing West Side Story
How one of the most exciting Broadway shows almost didn't make it.
Cheryl Crawford
Cheryl Crawford was a producer of many ground-breaking new plays and musicals. Together with Elia Kazan and Robert Lewis she founded The Actors Studio in 1947 and the American Repertory Theatre with Eva le Galliene. She had earned a reputation for producing risky and ground-breaking work, some of which went on to become hits on Broadway (including Awake and Sing, Brigadoon, and Porgy and Bess).
Robert E. Griffith and Roger L. Stevens at opening night party at Sardi's for the stage production West Side Story (1957) by Friedman-Abeles The New York Public Library for the Performing Arts
Cheryl Crawford joined with her producing partner Roger Stevens to produce West Side Story after almost every other producer turned it down.
Stephen Sondheim and Leonard Bernstein during the rehearsal for the stage production West Side Story (1957) by Friedman-Abeles The New York Public Library for the Performing Arts
Although Crawford consistently praised the music. She had doubts about Arthur Laurents's script.
Cheryl Crawford West Side Story Correspondence Cheryl Crawford correspondence relating to West Side Story by Cheryl CrawfordOriginal Source: New York Public Library
Crawford sought advice from others, including director and friend Elia Kazan.
Cheryl Crawford letter to Arthur Laurents Cheryl Crawford letter to Arthur Laurents (1957-04-12) The New York Public Library for the Performing Arts
In 1957, Crawford wrote a letter to Laurents suggesting major revisions.
Cheryl Crawford by Anonymous The New York Public Library for the Performing Arts
Laurents refused to make most of the changes. Only a few weeks before rehearsal were to begin, Crawford withdrew from the team.
Robert E. Griffith and Roger L. Stevens at opening night party at Sardi's for the stage production West Side Story (1957) by Friedman-Abeles The New York Public Library for the Performing Arts
Although Roger Stevens initially agreed with Crawford about the problems, he remained a part of the production team to help with pre-production costs. But Stevens' generosity was not enough to keep the musical on track in the coming weeks.
Stephen Sondheim and Hal Prince at the opening night party at Sardi's for the stage production West Side Story (1957) by Friedman-Abeles The New York Public Library for the Performing Arts
At the same time, Sondheim’s close friend, a young producer named Harold Prince, was in Boston at the out-of-town tryouts of his latest production, New Girl in Town .
The New Girl in Town Playbill The New Girl in Town Playbill. Page 11Original Source: New York Public Library
Prince and Sondheim would often compare notes on their current shows. On one phone call, Prince complained about problems in out-of-town previews with his current show, New Girl in Town. Sondheim mentioned losing the producer for West Side Story.
Harold Prince & Robert Griffith
Shortly after his call with Sondheim, Prince spoke to his producing partner, Robert Griffith. After hearing the score, Prince and Griffiths were on board to produce West Side Story. Within a week, the new producers raised the $300,000 capital for the production.
Leonard Bernstein outside the National Theatre in Washington, DC by Robert H. PhillipsOriginal Source: Library of Congress
The show went into production as scheduled. Since then, it has become one of the most recognizable musicals worldwide.
Curated by Misy Singson.
Photographs by: Friedman-Abeles, Robert H. Phillips, Martha Swope & Florence Vandamm.
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