Popular Culture Review Vol. 11, No. 1, February 2000 | Page 131

West Side Story and Kennedy’s Camelot

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and Co, 1996, 487) Fosse’s later 1970s musicals were smaller budgeted, and much
darker, but successful. Musicals had historically done better in the U.S.; by the late
1960s-1970s, box-office receipts were increasingly based on a growing international
market. Yet, West Side Story did well overseas—running a full year (1.5 million view
ers) in Tokyo.
16. Coppola’s co