TONY-WINNER Chita Rivera, the living legend walking among us, sat back at the Palace Theater taking in previews of the eagerly awaited revival of the equally legendary play, “West Side Story.”
Rivera was 24 when she played the passionate and beautiful Anita in the musical, which would go on to change American musical theater forever and, of course, the Washington, DC-born performer’s life.
Still gorgeous and energetic at 76, Rivera remembers the intense months during 1957 when her life would change forever.
You just saw the play last night, what did you think?
I’m happy to see “West Side” is alive again. It’s a great piece that should live on forever. Last night stimulated me. Whenever I go to the theater and see something that I am so familiar with, I get fired up.
What kind of memories did it bring back?
It brought back everything! I got married during “West Side,” I had my daughter. Every moment – it was like living several lifetimes sitting for two hours in the theater.
What did you think of the bilingual revival?
I don’t want to critique a show that I have done. I just want to go and enjoy the show. It’s another time. I’ve done this [gone to revivals] many times. I’ve done it with “Bye Bye Birdie,” “Kiss of the Spider Woman.” I’ve been around a long time and the shows I’ve done have all been done again, which is great. It’s always wonderful to go back and see.
Do you remember your first week of previews? Were you nervous?
It was a job. It was all work. We had to do what we were told. And we were happy to do that. We had no idea if the show would be a hit a hit or not. You really don’t think about it. You think about doing your work and hope that it’s going to be received well. You’re living in it and when you’re living in it – the process – you don’t step outside of it.
How do you play a Puerto Rican correctly?
You have to be really smart and elegant. We are an elegant tribe.
You’ve said that the play pushed you to get to know yourself as an actor, a dancer, and a woman.
Yes – but it wasn’t just Anita. It’s true with every day you live. When you’re in the theater or in the entertainment field, you actually hear your own voice. You are acquainted every day with yourself, what you can do, how you look, how you feel .ñ.ñ. That’s true even when you are not in the theater. Success is how you deal with the cards that you are dealt.
Did playing Anita teach you anything in particular?
Oh God, yeah! She taught me great friendship, great love, forgiveness and then she taught me the human feelings of anger and revenge which come from being treated badly. But she was like a mother figure, too, so protection. When I had my daughter, I had another element that was even more exciting because I really knew then what being a mother was like.
Did it bother you that there were Latino stereotypes being played out on stage?
Not at all because everything on that stage is true. It’s just how we take it. Everybody takes everything so seriously. Part of Anita, when she sings, “America,” there’s truth in it, but there’s joking. How can you possibly sing “Puerto Rico, you ugly island” and be serious? Anybody who took it seriously was wrong.
There was an infamous gang murder -The Capeman – when “West Side” was playing.
[Director] Jerry Robbins posted the front page of a newspaper on the bulletin board where we all walked in and it said ‘This is your life” written in black letters. He meant it as actors, when you walk through those doors, this is your life. And it was. It was a teenager standing over the top of a dead body .ñ.ñ. with a knife in his hands, which is what the rumble was all about. It was an image that he wanted us to have because it was the kind of image that we were existing in when we were doing the show.
Do you think the play is relevant in terms of what is happening outside our doors?
Absolutely – you know very well that’s true – this story has lasted since Shakespeare wrote it. Differences in people. There are still disgusting prejudices. And gang wars all over California. I just read that in Phoenix, gangs are acting up. It’s unfortunate. People never learn. Things have gotten better but the story is very relevant and that is what sad about it.
And the theme of love is still very relevant.
Thank God – absolutely!
I wished that I had been around to see you play Anita. It would be great to see video, though.
Everybody that could pull it is gone. I’m sure that they must have a copy of it in the Lincoln Library. It was a long time ago – a lot of things have been said, and put down. It’s important that kids see it today.
You set a bar to play Anita – and it was high.
It should always be looking up. You should never set it at eye level. Or else you’ll be comfortable. You have to always keep working hard, trying to learn to get better. That is what I told the kids last night. That they really had to take care of themselves and work really hard.
What’s your favorite part of the play?
I love “A Boy Like That.” It was painful but it was honest and sad and brought the two girls together and closer. It’s fascinating how sadness brings people much closer together.
Is there a part that challenged you?
I remember when they first called me a spic on stage and I went through it. And then one day it hit me between the eyes. I just did not feel like being called a spic. I was not ready, so they really got something out of me. That is what is so amazing about live theater.
One of those days when you did not feel like being called a spic? I get it. I have those days, too.
[Laughing] You never want to be called a spic .ñ.ñ.
But yet you have to endure it on stage.
Well, then you learn something about acting – how you deal with that situation, whether you strike out, or stand and internally take it or whether you give a look. A look that can be stronger than any words or your silence. Silence is deafening. There are all sorts of ways you can treat a situation.
Do you think this revival with the Spanish brings anything new.
It’s the kind of thing that you really have to decide for yourself. I don’t speak [Spanish] as much as I should.
In “A Dancers Life,” you have a line about the assistant choreographer Peter Gennaro not receiving proper credit for choreography in “West Side.”
Jerry was smart enough to have an assistant .ñ.ñ. and smart enough to know that Peter had a style – very quick, very Latin, very fast, fast, fast, feet, very intricate, very passionate. He gave Peter a chance to do the Sharks movement and Peter did. The first version of “America” was done with the girls and the boys, like they did it in the movie. But when he showed it we were excused. When we came back, Peter had suggested that it would be stronger with just the girls and he was absolutely right. It was so much cleaner, clearer, and expressed the girls’ independence in a new land and it was perfect! He was a genius. He’s among the greats. It was nice for me to say it in the show .ñ.ñ. The applause meant that people really got it.
You’ve been a world ambassador for Puerto Rico and elevated its name and culture.
The governor of Puerto Rico said to me, ‘We are proud of you.’ That brought tears to my eyes. That meant so much. You have to represent yourself, who you are and where you come from. If you’re gonna be out there, you have to be an example.
Has the new Anita [Karen Olivo] reached out for advice?
No she hasn’t and that’s fine. She’s a very talented gal. I am sure Arthur has kept her busy.
What else is there for you to do – Kennedy Honors, Tonys, accolades, traveling the world, beloved by so many .ñ.ñ.
You still want to do, communicate. You never look straight ahead you always look up.ñ.ñ. You continue. There’s an amazing musical, “The Visit,” we did last summer and I’m working on getting it up in New York. It’s an old Ingrid Bergman and Anthony Quinn work. I also have a 3-piece band and we are recording now. I’m going on a cruise and do concerts with my concert hall. I’m having fun.
You received Kennedy Honors several years ago?
That was unbelievable. To see 40 dancers hitting the stage and honoring you and you are there because you have represented them is an extraordinary feeling – a lot of tears, very grateful and lots of love.
You said that in your career you were representing the gypsies?
I was. I’ve always felt that I was representing us as a chorus of dancers. It was wonderful to see them arrive and do me the honor of showing up and dancing for me – that was an extraordinary circle. It’s a wonderful circle that we have. It was beyond beautiful.