New York is more than a setting in West Side Story. It impacts the very soul of every character; it is the embodiment of both hope and disappointment in “America,” the harsh reality of “Gee, Officer Krupke,” the faraway dream of “Tonight.”

 

It was therefore essential that the set of West Side Story be more than just a space actors stand in, but an active player in the storytelling. To ensure that dynamic nature, the set was multiple levels, giving the actors plenty of space to move and dance at different heights. This also highlighted the urban nature of the story, lending a geometric, artificial element. I wanted to stay away from natural color tones on the set, focusing more on greys and blacks.

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The basic units of the set were more neutral and timeless, with the more specific elements being rooted in the time periods set by the director. Overall, the world of West Side Story was hard and geometric, but still moveable and changeable, which I think contributed to the tone of the story. This is a theatrical universe in which dance represents the violence of a gang-ridden New York, and I wanted to extend that kind of symbolism into the set.