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Today I’m taking that same Shakespearean blueprint and placing it in a new world: the 1961 film West Side Story. I’m going to do this in the simplest and clearest way possible:

I’m going to tell the film’s story in a straight line.

As we go, I’ll point out the matching Shakespeare “parts” — not as trivia, but as the engine that makes both stories run.

And one clear rule: no lyrics, no musical quotations. I don't wanna get in trouble, and besides We don’t need them. This story is Shakespeare before anyone sings a note.

Lantern lit. Curtain up.

Let’s put the pieces on the board.

Tony is your Romeo figure: once connected to the Jets, now trying to step away from violence and build a different future.
Maria is your Juliet figure: young, protected, watched, expected to choose within her group and remain loyal to it.
The Jets and the Sharks are the Montagues and Capulets: rival “houses,” reimagined as rival street groups.
Riff is Mercutio-energy: Tony’s friend, charismatic, proud, full of swagger, and emotionally committed to the feud.
Bernardo is Tybalt-energy: Maria’s brother, protective, quick to escalate, and intensely driven by honor and group identity.
Anita is the confidante figure — like a Nurse-energy role but tougher and more adult: she’s protective and practical, and later becomes crucial to the catastrophe.
Chino is the approved match, a Paris-function figure — and later becomes the instrument of tragedy.

That’s enough. Now we move.

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