There’s a Place for Us

August 29, 2015
Posted by Jay Livingston

The Metropolitan Opera’s Summer HD Festival offers free screenings of operas in the large plaza at Lincoln Center- a different opera each night. Tonight it’s Carmen, and the operas to come are nearly as well known – La Traviata, Don Giovanni, Tales of Hoffman, etc.

For the opener last night the Met chose West Side Story – the 1961 movie.

The great irony is that we were sitting in what had been the setting for the story – a neighborhood known as San Juan Hill. Back then it was a “slum”; today it would be called a low-income, predominantly minority community. It was San Juan Hill even in the 1940s, when it was still nearly all Black, as it had been since the turn of the century. In the 1950s, Puerto Ricans began arriving, and some Blacks moved uptown or to Brooklyn. Gang violence was rife – fights between the Black (and later Puerto Rican) gangs of San Juan Hill and Irish gangs from Hell’s Kitchen just to the south.

DIESEL:  What do you say, Riff? RIFF:  I say this turf is small, but it's all we got, huh? I want to hold it like we always held it.

In the 1950s, however, the real turf battle was not between the Jets and the Sharks. It was between the residents of San Juan Hill and a gang led by Robert Moses and John D. Rockefeller III – not exactly an even match. It wasn’t much of a rumble.The winning side demolished the slum and build Lincoln Center.

I wondered whether many of my fellow moviegoers knew this West Side history, but then the speaker who introduced the film mentioned it. Some of the film was shot right here on location, he said, and in fact the film’s producers (or was it Jerome Robbins, the choreographer?) asked the city to delay part of the demolition so they could complete some of the dance scenes. The speaker related these as interesting factoids, as if to say, “You’re sitting where Maria and Tony’s balcony scene might have taken place,” and expecting us to feel a Washington-slept-here sense of connection to history. 

Instead, I was thinking of class and politics. I was thinking of The Urban Villagers and Boston’s urban renewal destruction of the West End; I was thinking of other Robert Moses projects in New York. Working-class and lower-class people displaced for buildings or highways that benefit middle class people, promoted and partly financed by upper-class people. The audience at the free movie last night had few Marias or Bernardos, Riffs or Diesels. Or Blacks. The paying customers coming from the ballet at the New York State Theater David H. Koch Theater just to our left were even Whiter and older.

As Lincoln Center was being built, some critics like Paul Goodman suggested that major arts centers should be dispersed to different places in the city, maybe even different boroughs. Why put the buildings for the opera, the ballet, and the symphony together in one place? (I was reminded of this when the noisy crowd coming out from the ballet next door made it hard for us movie watchers to hear what was happening on screen.)

But these grandiose projects of megalomaniacs sometimes work. And once they are in place, it’s hard to imagine the city without them – Paris without the Haussmann boulevards and buildings. They add to the greatness of the city, though thinking about a city in terms of its greatness essentially cedes the argument to the megalomaniacs. The other question to ask is whether they make life better for the residents of the city – and not just residents who like opera.