>> pelley: 298 men, women, and children were murdered while traveling from amsterdam to malaysia after an anti-air missile shredded their airliner over ukraine. no one has ever taken responsibility, but tonight you will hear the evidence and the testimony of those who lost family in such an unimaginable way. >> i want to know who killed my children. ( ticking ) >> cooper: for 133 years, a colossal statue of general robert e. lee towered over a traffic circle near downtown new orleans. until last year, when, to the cheers and jeers of onlookers, the confederacy's most celebrated military hero was hoisted off its pedestal. >> really, what these monuments

were, were a lie. >> cooper: a lie in what sense? >> well, in the sense that-- that robert e. lee was used as an example, to send a message to the rest of the country, and to all the people that lived here, that the confederacy was a noble cause. and that's just not true. >> cooper: this is incredible. mayor landrieu agreed to show us what's become of generals lee and beauregard. they've been gathering dust for more than a year. wow. ( ticking ) >> whitaker: no snapping fingers, no fire escape balcony, nope, this is not your parent's "west side story." >> everything scares me about this. it's a huge challenge.ker:of everyone has an expectation. "60 minutes" spent four months behind the scenes as this epic american production gets set to open on broadway. ( ticng >> i'm lesley stahl.

>> i'm bill whitaker. >> i'm anderson cooper. >> i'm norah o'donnell. >> i'm scott pelley. those stories tonight, on "60 minutes." diabetes and heart disease... ...but could your medication rdiance can ce the risk of cardiovascular death so, it could help save your life from a heart attack or stroke. and it lowers a1c. jardiance can cause serious side effects including dehydration, genital yeast or urinary tract infections, and sudden kidney problems. ketoacidosis is a serious side effect that may be fatal. a rare, but life-threatening bacterial infection in the skin of the perineum could occur.

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[indistinct chatter] ♪ this'll be what they was waiting on from me ♪ ♪ this'll be the realest story that i've ever told ♪ ♪ it's a trap if they say they want you to be the same ♪ yeah, yeah. ♪ damn sure innit, everything vivid ♪ ♪ i've got one life and i might just live it ♪ ♪ i've got one life and i might just live it ♪ massacred in ukraine. the dead were traveling from amsterdam to malaysia when an anti-aircraft missile shredded their widebody airliner. that was six years ago and no one has been held accountable. the downing of malaysia flight

17 was a shock to the world. how could innocent civilians leaving the netherlands on vacation to asia lose their lives in a war russia started with ukraine? as we first reported in february, after a years-long investigation, dutch prosecutors say they know who is responsible. this is the story of the hunt for the suspects now charged with 298 counts of murder. in a dutch hangar, heavy with the smell of fuel and fire, malaysia flight 17 has been resurrecfrom 8,000 fragments. the boeing 777, 20 feet wide and 200 feet long, was torn by an estimated 800 pieces of shrapnel, each the size of a bullet. a warhead detonated ten feet to the left of captain eugene choo's windscreen. the dutch safety board says the greatest density of holes, 102,

is through his window. shrapnel tore through the cockpit and out the other side. the cockpit sheared away. and the rest of the plane flew another minute and a half. passengers were thrashed by explosive decompression and a 500 mile an hour wind at 40 degrees below zero. one passenger was found wearing his oxygen mask. >> samira calehr: i want to know who killed my children. >> pelley: it was july 17, 2014, that samira calehr walked her boys, 19-year-old shaka and 11- year-old miguel, as far as amsterdam airport security would let her. the youngest boy was worried. >> samira calehr: he hugged me really tight. and he told me, like, "mom, i'm so afraid to take this plane.

you know, i'm so afraid what happen when the airplane will crh?" i told him, "miguel, come on, you've been on flights many times. you are with shaka. everything is going just to be fine." he said, "you promise me?" i said, "i promise everything will be okay." >> pelley: the brothers were going to see their grandmother in bali. samira planned to come back to the airport the very next day because her middle son, mika, couldn't get a seat on flight 17. >> mika calehr: so, i never got a proper goodbye, said a proper goodbye, and that really is something that i have to deal with for the rest of my life. >> samira calehr: i cannot forgive myself that i promised my baby, miguel, that everything will be fine. everng's t o

>> pely: that's what a son wants to hear from his mother. >> samira calehr: but i feel like i lied to him. who am i to give him that guarantee? it's been like hell. i feel emptiness. i feel sadness. there is a hole in my heart. it will always hurt. and i miss them every day. >> pelley: her boys were among 193 dutch citizens onboard. >> piet ploeg: it's 911 for the netherlands. the netherlands, all people in the netherlands were very, v very shocked. >> pelley:inhomecodihe one to piet ploeg's brother, sister-in-law and nephew. his nieces didn't go on their family vacation. you had to tell your nieces what happened.

>> ploeg: i don't want to think too much about that moment. it's too emotional for me. i saw my nieces falling in each other's arms when they realized their parents and their brother were dead. it was a terrible, terrible moment. yeah. >> pelley: no one had any understanding that they were going to be flying over a warzone. >> ploeg: oh, you didn't think about it, and after mh17 we always think about it. >> pelley: flight 17 was three hours into a 12 hour route when it came within range of a war. in 2014, russia dismembered its neighbor to the west, it annexed part of ukraine and, today, pro- russian militias, supplied and manned by moscow, are fighting to control eastern ukraine. in the days before the flight 17 murders, two ukrainian military

planes were shot down. but despite that, the day flight 17 entered the airspace, 160 airliners crossed over ukraine. it was cloudy. flight 17, at 33,000 feet, appeared only on radar until it fell through the clouds across 20 square miles. >> andy kraag: we considered it a national crisis. because, if you think, it was not only that we were doing a criminal investigation, but the most important thing in the beginning was the recovery mission. >> pelley: andy kraag is lead investigator for the netherlands. >> kraag: first, we needed to recover all the casualties to get them back home, so that the next of kin could mourn. actually, we were in national mourning. >> pelley: in a nation so small it seemed everyone knew someone touched by the murders. for days. convoys of hearses, stretching beyond sight, were met by esteeke is the chief

fm the start. have all of the remains been identified? >> fred westerbeke: we were able to identify, from the 298 casualties, 296. so, for two people we didn't find any remains. >> pelley: with no admission of guilt, 350 investigators from five countries began almost six years of work. >> kraag: we started with multiple scenarios in the beginning. one was, was it an accident? that could be discarded quite quickly. the other one, was it an explosion from the inside? and the last two, most importantly, was it air-to-air, like, was it shot by a plane? or was it surface to air? >> pelley: t scena narrowed quickly becauf ae- civilian internet investigators. just days before the murders,

eliot higgins started a u.k.- based group of online detectives that he calls bellingcat-- named for a fable of mice tying a bell to a cat to warn of danger. higgins found images, crowdsourced online. >> eliot higgins: so this is one of the first videos that was shared online after mh17 was shot down. and it was shared claiming that this was a buk missile launcher. >> pelley: and how do you know across all these images that you're looking at the same convoy? >> higgins: so there's certain details that kind of leap out at us. there's the white truck. but you can see there's a black exhaust pipe on the side of that truck. it's a very small detail, but it does helps us show that it's very similar to the truck that's in other photographs and videos. >> pelley: matching randomly sourced pictures with geolocation techniques, higgins and his colleagues spotted an anti-aircraft system in the images that had been shot earlier led him to the convoy's starting point.

>> higgins: and that took us back to a town called kursk. kue brigade called the 53rd air defense brigade, and we were able to establish for certain the missile launcher came from that particular brigade. >> pelley: and kursk is in russia. and the 53rd brigade is a russian military unit. >> higgins: yes. and it was probably very likely crewed by russian crew. >> pelley: higgins also discovered the missile system retreating after the shootdown-- with one, incriminating, difference. you're saying that there's a missile missing from this picture? >> higgins: that's right. so, there's one there. there's one there. and there's one just out of the back of there as well. but there should be a missile between these two missiles. >> pelley: it wasn't long before eliot higgins got a call from dutch investigators. how important was the information came beingcat?ag wtty so, e arned a lot from them as well. but that's just one layer of the evidence, because we have to build up evidence that can stand in court.

we also have the witnesses, forensic evidence et cetera. >> pelley: the investigators told us, layers of evidence came from the weapon itself. its missile warhead is packed with a unique bowtie shaped shrapnel. this signature shrapnel was found in the bodies of the flight crew. another layer of evidence came in thousands of phone calls, intercepted among russians and their allies. "we have just shot down a plane," a rebel commander said before realizing the catastrophic mistake. yet another layer of evidence was supplied by ukrainian villagers. you have eyewitnesses to the missile launch. is that correct? >> westerbeke: yeah. >> pelley: more than one? >> westerbeke: i'd say i have an eyewitness. and how many, i didn't say how many. >> pelley: what military unit did the missile system come from?

>> westerbeke: from the 53rd brigade of the armed forces of >> pelley: is there any room for doubt in that? >> westerbeke: no, there is no doubt at all. >> pelley: they don't know who pushed the button, but, this past summer, dutch prosecutors charged three russians and a ukrainian with 298 counts of murder. sergey dubinsky was head of intelligence for the pro-russia rebels in ukraine, prosecutors say, oleg pulatov, and leonid kharchenko, were involved in delivering the missile system. the highest-ranking russian accused is igor girkin, a retired colonel in russian intelligence. he was in charge of the pro- russia militia in ukraine. we found him in moscow living under the protection of the russian government. he told us, "someone has to be

the scapegoat, so they picked me and others who couldn't even theoretically shoot down this plane. the militia did not bring down the boeing plane. i have no other comment." how helpful have the russians been in this investigation over the last five years? >> westerbeke: i'd say they haven't been helpful at all. because what they should've done is give us all the information and all the proof we needed in this difficult investigation. they should have told us that at the second day after it happened, they should've told us, "we made a mistake," or "we did something which shouldn't have happened." they should have come forward. that is what they should have done, and they never did. >> pelley: still unhelpful, the russians will if they're convicted, even though they're not in the >> samira calehr: no. >> mika calehr: everybody will be haunted by the fact that they're still out there and not in custody.

>> pelley: the trial is scheduled to begin march 9 and will be heard by a panel of three dutch judges. samira calehr told us she will not attend. piet ploeg will not miss it. the families have the right to speak in court and i wonder what you intend to say. >> ploeg: i want them to know what they have done, and what they have done to not only to the victims, but also the next of kin. they have to feel it. >> pelley: prosecutors told us their investigation is continuing beyone hope to charge addi for its parussia has s number of sts about what might have killed 298 innocent victims-- stories that, so far, have not withstood the evidence presented by the silent witness of malaysia flight 17.

the trial began as planned in march and will likely run through the end of the year. samira calehr still has not attended. ( ticking ) >> go deeper inside the investigation of mh-17 at 60minutesovertime.com sponsored by pfizer.

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>> cooper: "60 minutes" has been reporting on the debate over confederate monuments for nearly three years. today that debate is as charged as arguments to defund american police departments. when we began our research in 2017, we were surprised to learn why and when many of the monuments were built. we decided to go to new orleans

to talk with the mayor at the time, mitch landrieu, about his then-controversial decision to remove four confederate monuments. what we saw looked like a military operation. when the city of new orleans removed a giant statue of p.g.t. beauregard, a confederate general who ordered the first shots fired in the civil war, they did it in the dead of night. construction crews wore bulletproof helmets and vests, and police snipers were stationed on rooftops nearby. mitch landrieu says it was impossible to find a local company that would take the job. >> mitch landrieu: when we put the thing out to bid, the one contractor that showed up, had his life threatened. he had his car bombed. >> cooper: his-- his car was actually-- ? >> landrieu: his car was actually fire-bombed. death threats were coming in. and so, i couldn't find a crane. i could not find a damn crane. >> cooper: in new orleans, you could not get a-- >> landrieu: in new orleans. i couldn't find a crane in louisiana. >> cooper: mayor landrieu eventually found a contractor from out of state, and finally, after years of legal wrangling, took down four confederate monuments. the last one removed was a 16.5-

foot bronze statue of general robert e. lee. it had stood for 133 years... ( cheers and jeers ) ...until may 19, 2017, when, to the cheers and jeers of onlookers, the confederacy's most celebrated military hero was hoisted off its 68-foot pedestal. >> landrieu: in a city that i represent, that's 67% african american, to have a young african american girl pass by that statue and look at it every day, i ask myself, "am i really preparing for her-- a really good future? is she feeling like she's getting lifted up by the government, or is she being put down?" i mean, i think the answer's pretty clear. really, what these monuments were, were a lie. >> cooper: a lie in what sense? >> landrieu: well, in the sense that-- that robert e. lee was used as an example, to send a message to the rest of the country, and to all the people that lived here, that the confederacy was a noble cause. and that's just not true. >> cooper: this is incredible. mayor landrieu agreed to show us what's become of generals lee and ga

they've been gathering dust for more than a year... >> landrieu: that-- that's the first time i've seen them there. >> cooper: is that right? >> landrieu: uh-huh, yup. they're pretty daunting. >> cooper: ...hidden away in this hastily-built plywood shed, in a location we were asked not to reveal. >> landrieu: and you can see, they're in the civil war gear, the-- the military monuments. you know, they're there to revere them for their military service in propagation of the civil war. >> cooper: you look at these monuments, you would never know the confederacy lost. >> landrieu: well, that was the whole point. the whole point was to convince people that, actually, they won, and even in their defeat, it was a noble cause. and of course, the whole point of this is to-- is to confront history. i mean, this wasn't an l.s.u.- alabama football game where it didn't matter who won and lost, and you just got bragging rights. i mean, we were talking about millions of people enslaved, 600,000 american citizens were killed, and they were trying to destroy the country. >> cooper: the statues' final fate is unclear, but they're unlikely to ever be displayed again on public property in the city of new orleans. >> landrieu: i really did want to make a definitive statement, as a white man from the south,

as the mayor of a major american city at the dawning of the 21st century, that it's not unclear anymore about what the civil war was about and who won, and what the values are that we should really revere. >> cooper: after the removal of the statues in new orleans, and the violence in charlottesville, cities, universities, and activists across the country began re-thinking what confederate monuments said about their values. several were removed in baltimore, and also in aus texas. ( yelling and chanting ) in durham, north carolina protesters tore down a statue of a confederate soldier outside an old courthouse. ( yelling and cheering ) state e virgin. in richmd, the capital, there's a contentious debate about what to do about fiveent . >> julian hayter: all these years later, the civil war, in many ways, is still contested ground. this is contested ground.

>> cooper: this is ground zero of this debate. >> hayter: absolutely. in large part, because it was the capital of the confederacy. >> cooper: julian hayter is a historian at the university of richmond. >> hayter: monument avenue is not just a national tourist attraction, but an international tourist attraction. >> cooper: monument avenue is like a confederate walk of fame. there are the generals: robert e. lee and his horse, traveler; "stonewall" jackson; and jeb stuart; the president of the confederacy, jefferson davis; and finally, matthew fontaine maury, a somewhat more obscure figure who tried and failed to start a confederate colony in mexico. >> hayter: those monuments, in many ways, are part and parcel of what we call the lost cause. >> cooper: the lost cause, what does that mean? >> hayter: the lost cause, quite frankly, is just the confederate reinterpretation of the civil war. it's created almost immediately after the war ends, by confederate leadership. it was hard for a lot of people, in my estimation, to believe that their ancestors died and-- and fought for an ignoble cause. 600,000-and-some-odd people died

in the civil war, which is more americans than died in the second world war. and people had to make sense of that. >> cooper: believers in the lost cause who raised money to build monuments in towns and cities across the country were often veterans, or their widows and children. lost cause ideology portrayed confederate soldiers as heroes defending states' rights against northern aggression, and downplayed slavery's role in causing the war. the first confederate statue on monument avenue wasn't built until 1890, 25 years after the civil war ended. the last one went up in 1929. you'verittenth statues serve white supremacy. >> hayter: sure. and that, by the way, is a critical component of the lost cause. the idea that african americans were not only happy slaves, but they were unprepared for freedom. the idea that african americans were helpless after the civil war. and in that way, it represents the continuation of the ways that whites think about black folks' intellectual abilities,

not just during slavery, but shortly thereafter. >> cooper: in the years after slavery was abolished and the civil war ended, what became known as jim crow laws were passed that made african americans second-class citizens. >> hayter: there are laws that disenfranchise african americans from their-- the 15th amendment's right to vote. there are laws that restrict their movements. they represent, more broadly, the attempt to reassert control over african americans after the abolition of slavery. >> cooper: and these monuments are part of that? >> hayter: oh, absolutely. they're just as much a part of jim crow as they are of the civil war and slavery. that's when they were built. they were built in the 20th century. very few people seem to understand that these monuments were built during-- during segregation. >> levar stoney: the monuments are just a symbol of the effort to ensur african americans stayed, maybe not in physical bondage, but in bondage in political and economically in this country and in this city. >> cooper: richmond's mayor,

levar stoney, created a commission in 2017 on the future of monument avenue. >> stoney: those who chose to erect those monuments and the figures who are glorified in those monuments-- they made some serious attempts to ensure that people who look like me would never hold any political office, ever, in virginia. >> cooper: with charlottesville, were you surprised at how many people were willing to come out and show their true colors, show their nazi flags? >> stoney: i think it woke a lot of people up, not just here in the commonwealth of virginia, but around the country. ( crowd chanting ) >> cooper: there have been protests in richmond over the future of monument avenue. mayor stoney says he wants the statues taken down. >> stoney: it is, for me, the greatest example of nostalgia masquerading as-- as history. >> cooper: it's not real history? >> stoney: it's-- well, it-- it's the fake news of their time. >> professor william cooper: well, he and i just disagree. they're a part of history. >> cooper: william j. cooper says removing confederate monuments is a mistake. he was a professor of history at

louisiana state university for 46 years, and is a past president of the southern historical association. one of the things that mitch landrieu said that stuck in my mind, he said there is a difference between remembrance of history and reverence for it. and that-- that these statues are revering a false history. >> prof. cooper: well, it's not a false history. it's not a false history. the monument was put up there by real people who had real beliefs. maybe we don't like their beliefs. but one of the things that bothers me most as a historian is what i call "presentism," judging the past by the present. figuring that we are the only moral people, that nobody else could be moral if they didn't think like we think. >> cooper: when you hear people saying that these-- these-- these monuments celebrate white supremacy-- because that's sort of the common refrain. >> prof. cooper: when you say "celebrate white supremacy"-- that's not incorrect. i mean, they do celebrate white supremacy. but they weren't put up to celebrate white supremacy. >> cooper: really? i mean-- >> prof. cooper: no, they were put up to celebrate the confederacy. >> cooper: but, if the statues

do celebrate white supremacy, should they be up today? >> prof. cooper: ( laughs ) well, should mount vernon be up today? should we go burn monticello down tomorrow? certainly thomas jefferson believed in white supremacy. >> cooper: you're saying this is a slippery slope? >> prof. cooper: that's a very slippery slope. >> hayter: i would say the difference, the critical difference between washington and jefferson and lee, and men like lee, is that while washington and jefferson were complicated individuals-- and by our standards, thouht about ideas in an entirely anachronistic way, they also baked in the constitution the components that allowed people to dismantle the slave system. they built as much as they destroyed. i cannot say the same thing for the confederacy. >> cooper: professor hayter was appointed by richmond's mayor to the commission that's going to make recommendations on what should happen on monument avenue. >> hayter: there are 75 million people in the south who are the descendants of confederate soldiers.

and who i am to tell them that they cannot celebrate their ancestor in a particular way? but i also have ancestors who were the victims of the slave system, and i see no reason why we can't find a usable way to tell two stories, or tell multiple stories. >> cooper: that tell the truth. >> hayter: not a romanticized version of the truth, where people are trying to absolve themselves from the deep inhumanities of what the confederacy stood for, but people who are willing to face down history for what it is, in all its ugliness, and all its beauty. >> cooper: do you believe the statues should be removed? >> hayter: no. i'm a historian, and i think that the statues should stay, with a footnote of epic proportions. >> cooper: essentially, you're suggesting-- >> hayter: i'm suggesting we do a little bit of historical jujitsu. i'm-- right? i'm suggesting we use the scale and grandeur of those monuments against themselves. i think we lack imagination when

we talk about memorials. it's all or nothing. it's leave them this way, or tear them down, as if there's nothing in between that we could do to tell a more enriching story about american history. >> cooper: historians call it recontextualization, the addition of signs or markers with information about when and why the statues were built, to help people see old monuments in a new light. so, you'd like to see signs or placards or historical lessons somewhere around here. >> hayter: anywhere around here, right. perhaps even on this sidewalk. >> cooper: so that as people approach the statue-- >> hayter: they can read the story of-- >> cooper: and they can understand the context in, in which it was built-- >> hayter: absolutely, absolutely. >> cooper: --and the reason it was built. >> hayter: yep. you could have a glass placard here, and etched into that glass placard would be a story. and then when you look through it, you can still see the lee monument, but you see it through the lens of a more accurate historical depiction. >> cooper: whatever recommendations made by julian hayter and the monument commission he serves on may have a limited impact. unlike in new orleans, the

confederate statues here may be protected by state law, and the republican controlled virginia general assembly is unlikely to approve major changes any time soon. one person who that might have disappointed is robert e. lee. before he died in 1870, he was on record opposing the building of civil war monuments in the north and the south." wiser," he once wrote, "not to keep open the sores of war." last month, protesters tore down jefferson davis' statue on monument avenue. president trump recently signed an executive order designed to prevent protesters from doing just that. however, mayor stoney has since removed eight other confederate monuments in richmond, and virginia's governor has ordered general robert e. lee's statue, the last one left on monument avenue, to be taken down as soon as possible. ( ticking )

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shakespeare's "romeo and juliet," tony and maria are the star-crossed lovers. rival street gangs, the jets and the sharks, become the montagues and the capulets. we were given unprecedented, access to see the making of this it's stripped down, fast and gritty-- a "west side story for the 21st century." we started rolling our cameras in october in a manhattan dance studio. ♪ ♪ >> whitaker: the first notes, of leonard bernstein's music and stephen sondheim's lyrics stirred treasured memories. >> ♪ i will know right away as soon as it shows ♪ >> whitaker: but ivo van hove, a tony award winning director, known for his cutting-edge productions, promised something new: a more raw and raging "west side story." >> ♪ little man you're a boy little man you're a king ♪ >> whitaker: it's van hove's first broadway musical.

updating this american masterpiece was his idea. the belgian director says the story is universal. jumping into this american classic, there must be things about this that just scare you. >> ivo van hove: everything-- ( laughs ) --scares me about this. it-- it's a huge challenge, because-- everything has to be on the highest level, the singing, the dancing, and the acting. and of course everybody has an expectation. ♪ ♪ >> whitaker: the songs and arthur laurents' story are the same, but the dancing... all new. ♪ ♪ >> de keersmaeker: okay, one more time. >> whitaker: van hove tapped choreographer anne teresa de keersmaeker, his friend and fellow belgian, to design more contemporary, street influenced movement. >> ♪ why waste my time in america? >> you forget i'm in america ♪ ♪ ♪ >> de keersmaeker: can the

ladies, could you that think there's a way you be closer to the guys? let's try once not to have unified steps. on the first curve you don't gonna come into a straight line. >> whitaker: this is your first broadway production. >> de keersmaeker: yes, yes. and-- > whitaker: this is a different animal. >> de keersmaeker: would you call it an animal? ( laughs ) what kind of animal? a lion-- a serpent? a dragon? ( laughs ) maybe a dragon. i don't-- >> whitaker: is that what it feels like sometimes? >> de keersmaeker: it's huge. it's a lot of people. it's-- is a lot at stake. and it's-- it's teamwork. you know, with clear leaders being ivo and i. ivo, ivo, tell me what's the situation. >> whitaker: their young cast reflects america today. in this version the jets are not all white. and the sharks are not just puerto ricans. they're recent latino immigrants. 33 of the 50 cast members are making their broadway debuts. >> ♪ puerto rico is in america

>> van hove: it's not easy to sing these songs. you have to dance at the same time. also-- ( laughs ) time-- you have to be able to act. so that's a very difficult thing when you're very young and ha-- and when you don't have a lot of experience. the sharks will be here. >> whitaker: van hove is animated, decisive; de keersmaeker calls herself a patient collaborator. >> de keersmaeker: so, i don't need a military line like this. i don't want to organize it like an army. i'm not a general i'm not like, "cha, cha, cha, chack." ♪ ♪ we start to shape it together with the dancers. >> whitaker: her style is vastly different from the original, balletic dancing of director, choreographer jerome robbins, immortalized in the 1961 movie. ♪ ♪ so how do you change something like "america," the way she throws the dress around? >> de keersmaeker: those dresses are very beautiful. they really enlarge the movement, but that's not the way

people-- young people dance these days. ♪ ♪ ♪ ♪ >> whitaker: so that's-- that's out? >> de keersmaeker: that's-- that's out. >> van hove: no snapping of the fingers-- ( snapping fingers ) >> whitaker: no snapping of the fingers-- >> van hove: no, because it's not in the score. it's an invention of jerome robbins and we should respectth? you can be inspired by other people, but not stealing from them, i think. ♪ ♪ >> whitaker: this was their vision. after five weeks in the rehearsal hall, the last run through before moving to the theater. ♪ ♪ ♪ ♪ >> cast and crew to the stage please, please. >> whitaker: two days later on november 18, the production went up town to the broadway theatre. >> we made it. here we are. ( cheers and applause ) >> whitaker: the scenery is an enormous, black wall that opens up to reveal two hidden sets.

central to van hove's re- imagining: cameras everywhere, 25 of them, projecting images onto the wall designed to intensify the action. ♪ ♪ it's video on a scale broadway has never seen. >> de keersmaeker: i would like sort of curve it. >> whitaker: de keersmaeker had to scale up her dancers' movements to fit the bigger space and giant images. >> van hove: video-wise we have now to explore what we do there. >> whitaker: veteran producer scott rudin is the money and power behind this production. so when the audience walks in, that's what they're going to see? >> scott rudin: that's it. that's-- that's "west side story." it's a black box, fully exposed, guts and all. it's not "west side story" of 1957. it's just not that. >> whitaker: it's huge. are you concerned at all that that video image will overwhelm >> rudin: i think we're managing our way into it. there are places where i think it still does slightly overwhelm, or ki-- kind of dwarf

the actors, and some places where it's incredibly exciting that it's there. but it's been a fascinating-- toolkit to play with. >> shereen pimentel: it is off stage. >> whitaker: isaac powell and shereen pimentel play the doomed lovers, tony and maria. they took us to what they call a secret set. four flights up above the stage, out of sight of the audience. >> pimentel: and they have a camera set up right here. >> whitaker: in what was once a dressing room, now is maria's bedroom... >> pimentel: there's a camera set up in the bedroom. >> whitaker: so in the play-- >> pimentel: yes. >> whitaker: you will be running up and down the stairs to come to your room? >> pimentel: yep. >> whitaker: so is this a theater, or a movie set? >> isaac powell: why does it have to be either? >> pimentel: exactly. >> powell: it's both. >> pimentel: it's-- it's happening in real time. >> whitaker: seamlessly? >> powell: sometimes. of course there are bound to be bumps, and-- and kinks that need to be ironed out. >> van hove: i saw him now into his frame. >> whitaker: we saw some of those kinks- the first time in the theater van hove rehearsed

the bedroom scene when maria learns tony has killed her brother. it was like directing a movie. he blocked it with the actors and cameras, then went down to the theatre to watch it unfold on the video wall. >> van hove: i see him again. but this goes wrong. no, uh, no. she should not stand there. it's out of focus, out of focus, guys. this is so many mistakes. yeah, i give you a moment, but i was there already explaining five times. you know, it's not that difficult. >> whitaker: we were here one day when you were rehearsing the bedroom scene upstairs. the camera was out of focus, the actors were out of position, you were getting angry. you at one point said everything is wrong. so much of this is wrong. did you ever have any questions through that about the use of the video like that? >> van hove: no, no, no, no. >> whitaker: never? it never-- >> van hove: no, no. >> whitaker: it never made you have doubt? >> van hove: no, the challenges were high.

and of course you know that it will be a-- a journey. you know, it took us a while to bing all the elements, you know, in a perfect balance. so, no, it's a normal process, in this case a very intense one. come on. bang. where's the rain? >> whitaker: something else they had to fix: the rain. a deluge that soaks the actors and sometimes musicians in the orchestra pit. >> van hove: let's go on. >> whitaker: the calm in the middle of the storm: ivo van hove. you take notes on everything. the next day you go up and you have production meetings with the-- with the crew, and you-- you go work with the actors. i mean, this seems like a grueling process >> van hove: i-- i love that. i feel like a-- a fish in the ocean, you know? and-- and the ocean is a dangerous place to be sometimes, you know, but also a great place to be. i love the sometimes violent, but always the-- the high energy

of a rehearsal-- process. >> whitaker: as the show evolved, we saw as much drama offstage as on. >> sharks, here's what we're missing. >> whitaker: two latin dance consultants were brought in to add more authenticity and broadway flair to de keersmaeker's choreography. >> de keersmaeker: i don't like when they start to fuzzle with your material. >> whitaker: is that what they were doing, fuzzling with your material? >> de keersmaeker: well, there is a certain codified language in broadway. you know, how a number has to end, how you have to build tension, you know? and-- it's true. i don't have so much experience about that. i think finally it turned out well. but i would be lying if i say that it went, like, smoothly like this, you know? ♪ ♪ ♪ ♪ >> whitaker: it seemed the show was snake bit. isaac powell, tony, injured his knee and had to take a month

off. that delayed opening night by two weeks. veteran actor, ben cook, who played riff, the leader of the jets, dislocated his shoulder and had to leave the show six weeks before opening, giving 22- year-old cast mate, dharon jones, a newcomer to broadway, the break of a lifetime. then protests erupted over amar ramasar, a dancer with the new york city ballet who plays the leader of the sharks. he's been named in a civil suit alleging he participated in an exchange of explicit pictures of female dancers, which he contests. ramasar was initially fired by the new york city ballet. >> rudin: the arbitrator found that there had been no firing offense. he got reinstated. i don't excuse it. i think what he did was really stupid. i mean, am i supposed to replace him in the show? i'm not going to do that. >> ♪ gee, officer krupke we're down on our knees ♪

>> whitaker: after 19 weeks, the performances have been polished, the video fine-tuned... >> mambo! >> whitaker: the dancing distinct. ♪ ♪ they're ready, after all the blood, sweat and tears. >> de keersmaeker: it's a bit like a battlefield, you know? it's a battlefield. and you have to behave like-- a general. >> whitaker: you told us originally that you are not a general. >> de keersmaeker: yeah. i know. i'm not a general. but i am a dancer. so, i mean, i'm flexible. i've patience. in italian, they say "hai voluto la bicicletta." they say you wanted the bicycle. so now you have to... >> whitaker: peddle. >> de keersmaeker: you have to peddle, you know? i made a choice of doing this. i knew it was not going to be easy. so, hai voluto la bicicletta. ( laughs ) yeah, now peddle. >> whitaker: and now they ride into the uncertainty of opening night. ♪ ♪ ♪ ♪

>> van hove: i was at the birth of this thing. i know exactly what i wanted it to be. the whole vision has been realized. and i'm really happy with that. >> ♪ we're drawing the line so keep your nose hidden ♪ >> am i always successful? no. will this be successful? we'll see. it's up to you, you know, to judge that. it's not up to me. i did everything possible with my team. >> ♪ here come the jets, yeah and we're gonna beat ♪ every last buggin' gang on the whole buggin' street ♪ on the whole ever mother loving street ♪ yeah ( ticking )

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