Bernstein’s extrovert personality, ambitions and eclectic talent were perhaps best demonstrated in the theatrical medium, and this chapter explores the origins of Bernstein’s relationship with this medium, looking at the collaborations, contexts, and influences surrounding his first works for the New York stage: the ballet Fancy Free (1944) and the musicals On the Town (1944), Wonderful Town (1953) and Candide (1956). There is a particular focus on Bernstein’s employment of symphonic dance music, the rhythmic vitality contained within many numbers, and his inclusion of both ‘highbrow’ compositional techniques and ‘lowbrow’ sounds of jazz and popular culture within his scores. The author also considers how Bernstein’s music helped to vividly portray the locations and characters within the shows, and discusses the musical elements found in these early works that would later resurface in his contribution to West Side Story.

Although the concert hall was perhaps Bernstein’s first love, musical theatre was always very close to his heart, and this chapter explores his first three works written for the Broadway stage: On the Town (1944), Wonderful Town (1953) and Candide (1956). There is an exploration of the origin and context of each show, and of the collaborative processes behind their development, from the tight team-work of On the Town and Wonderful Town to the personnel problems of Candide. The author considers the wide variety of musical styles utilized by Bernstein, particularly his blending of ‘highbrow’ and ‘lowbrow’ techniques and sounds. There is a discussion of how the stories and libretti of the three shows reflect aspects of the social, historical and political atmosphere of the time, and of the importance and influence of these early works.