Both were hungry for the Big Break, but it was hard to see anything on the horizon. Company Martha Swope. [20] Robbins was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame 10 years later, in 1989. He changed each of his worlds from . His mother was determined that her children be educated in the arts, however, so Kelly began taking dance classes at a young age - and proved to . Theres no explaining why he had this incredible aptitude for rhythm, but it is true that he synthesized what he got out of Hebrew cantillation, and the music and dancing in that world, combined with his getting really obsessed with what were called race records, in his college yearsBillie Holiday and Lead Bellyto say nothing of Stravinsky and Gershwin. And the rhythm of your pas de deux is something startlinghard at first, but oh so danceable with the pelvis! Some friends who knew them then have said that Bernstein and Robbins had a brief affair. You should have seen some of the scenery, gold-covered flames, and the Kabbalah stuff and the symbolism. David H. Koch Theater It was a celebrated, expansive, and overstuffed life, extremely social, his time for composing dovetailed in with difficulty. By Ray Stubblebine/A.P. Is that a cigarette butt lying on the floor? Robbins was born on the Upper East Side, where his parents owned a kosher deli, and moved as a child to New Jersey when his father decided to enter the garment trade. His letters are filled with his and Jerrys ideas for collaboration, and Jerrys journals reflect continuing awe at Lenny: He hits the piano & an orchestra comes out.. Robbins said in an interview with The Christian Science Monitor: "After seeing Fleet's In, which I inwardly rejected though it gave me the idea of doing the ballet, I watched sailors, and girls, too, all over town." However, she did not seriously pursue a career in the profession until she was a student . Born into a family of Russian Jewish immigrants . Each man in his own right was astonishing. Robbins was a five-time Tony Award-winner and a recipient of the Kennedy Center Honors. [10] In 1948 he added another credit to his resume, becoming co-director as well as choreographer for Look Ma, I'm Dancin'! But then Robbins backed away from narrative and into abstraction. I suddenly felt at the center of a universe I could control. For Jerry, whod been playing violin and piano from the age of three and who began taking dance classes in high school, art seemed like a tunnel to me. In 1964, he took on a floundering Funny Girl and devised a show that ran 1348 performances. He said that one of his inspirations for this ballet had been Paul Cadmus's 1934 painting The Fleet's In!, even though it was lighthearted, which the painting decidedly was not. Stephen Sondheim. There they arewhamtheyve arrived.. I felt totally immersed in it and lost, she says, lost in the music. Dybbuk comes back into N.Y.C.B. In 1954, Robbins collaborated with George Abbott on The Pajama Game (1954), which launched the career of Shirley MacLaine, and created, choreographed, and directed the Mary Martin vehicle, Peter Pan (which he re-staged for an Emmy Award-winning television special in 1955, earning himself a nomination for best choreography). Nobody.. time. [2] He received two Academy Awards, including the 1961 Academy Award for Best Director with Robert Wise for West Side Story and a special Academy Honorary Award for his choreographic achievements on film. Robbins died at the height of his creative powers. It was like dealing with a dead whale in the room. His work is characterized by the intensity and compactness of its expression and its wide variety of mood whether it be rhapsodic, introspective, poignant, or hilarious. West Side Story is a contemporary version of Romeo and Juliet, set on the Upper West Side. Asked to say his name on the first day of first grade, he began to cry. His only visible ear, the right, is largeand as centrally positioned in the portrait as middle C. Is this a fin de sicle poet dressed for the theater? Jerry, who had to leave New York University after one year because it was too expensive, was permanently insecure about his lack of education. Top, Bernstein at work in New York City, 1958; bottom, a scene from Broadways West Side Story in 1957. Worse was Robbinss attempt in 1968, revisited in 1986, to turn Brechts play The Exception and the Rule into a sort of musical vaudeville, a torturous episode for everyone involved, especially Bernstein. A collaboration as frequent and close as theirs is a marriage, says The photographs on this website depict choreography copyrighted by the individual choreographers. I can feel him standing behind me saying, yes, now just about four more beats there . The need for Lenny to work with Jerry, says Charnin, was just another side of the coin that was the need Jerry had to work with Lenny., They would both do other things, says Jamie Bernstein, but then they would try again together to achieve this higher thing that they were both so obsessed with. Finally I walk all the way up onstage and yell, Quiet on the gallery! I look up and theres Jerry and Lenny, side by side, looking over the rail at me. Im out in the house and even the dancers are kind of annoyed. Lenny kept saying to Jerry, Why do you need me in this show? He was afraid he was just being used to supply incidental music and he wanted to make a statement that would give it importance. Unlike previous choreographers, Robbins used the natural movement of the characters as the starting point for his choreography. You have the Additionally, The Jerome Robbins Chamber Dance Company completed an acclaimed tour of the People's Republic of China, sponsored in 1981 by the U.S. Communications Agency. Nobody had Jerrys invention. In 1962, Robbins directed Arthur Kopit's non-musical play Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad. Felicia Bernstein didnt speak to him after that, or not much, and wouldnt have him in the apartment. by Philippe Halsman, 1959; right, director-choreographer Robbins on the set of West Side Story with Chakiris and Verso. In the early 1940s, when young Jerome Robbins was a dancer in a newly founded company, Ballet Theatre, he already had ambitions to be a choreographer, and he finally presented a scenario that. By signing up you agree to our User Agreement and Privacy Policy & Cookie Statement. Jerry determined at a young age that the "confines" of his family's business were too much for him. In the same year, he also directed the opera The Tender Land by Aaron Copland. Over the headset I said, Please, guys, keep it down. had an influence on Fosse's choreography. Fosse was one of six children and grew up surrounded by dance and theater. They planned to stage the conflict between rival Catholic and Jewish groups. Even Bernstein, who wrote the music for that show, came in for a pounding, at least psychologically, when Robbins crossed out some of his . Vanity Fair may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Jerome Robbins directs dancers in rehearsal for the stage production West Side Story (1957) by Martha Swope The New York Public Library for the Performing Arts Robbins combined ballet,. He was simultaneously creating ballets for the New York City Ballet, which he joined in 1949 as Associate Artistic Director with George Balanchine. Soon after that he choreographed The Guests, a ballet about intolerance. After graduation he went to study chemistry at New York University (NYU) but dropped out after a year for financial reasons, and to pursue dance full-time. They were born within two months of each other, one hundred years ago, in 1918Louis Bernstein, called Leonard by his parents, on August 25 in Lawrence, Massachusetts, and Jerome Wilson Rabinowitz on October 11 in New York City. unhampered by tradition. Paging West Side Story. Director-choreographer Bob Fosse forever changed the way audiences around the world viewed dance on the stage and in the film industry in the late 20th century. The work was tailor-made for them. New York City Ballet and the block letter logo are registered trademarks of New York City Ballet, Inc. A look at Jerome Robbins' extraordinary body of work, bridging Broadway and ballet like no other choreographer before or since. Jerry would not give him that opening. Again, Jerry walked out of the projectin the middle of casting, no lessand Lenny burst into tears. Carol Lawrence, the original Maria in West Side Story, has said that Lenny would bring in new music and he would play it for us. scheduled Dybbuks premiere for May 1974, expectations ran high. Jerry just breathed theater, says the composer and lyricist Stephen Sondheim, who worked with both men. He won acclaim for highly innovative ballets structured within the traditional framework of classical dance movements. Following a bicycle accident in 1990 and heart-valve surgery in 1994, in 1996 he began showing signs of a form of Parkinson's disease, and his hearing was quickly deteriorating. He worked with and choreographed for the company until 1989, when he resigned from his position of co-ballet master in chief. [8] He also enlisted Oliver Smith as set designer. Ballet, tap and ballroom. When they had shot all but three musical numbers, Robbins was fired for taking too long with shooting. Robbins was first known for his skillful use of contemporary American themes in ballets and Broadway and Hollywood musicals. That same year, Robbins would become one of the first members of New York City's newly formed Actors Studio, attending classes held by founding member Robert Lewis three times a week, alongside classmates including Marlon Brando, Maureen Stapleton, Montgomery Clift, Herbert Berghof, Sidney Lumet, and about 20 others. They were both, Jerry wrote in his journal, oversensitive and insensitive: he scared of me & me feeling he always put me down. Yet neither one ever thought to let this artistic marriage go. Few chose to go home. And they each needed success. And when it came to being Jewish, Lenny was proud of his heritage. He was a director of musicals, plays, movies, and television programs. It is often said that Leonard Bernstein wanted everyone in the world to love him; while still in college he said as much to a close friend. Robbins became ballet master of the New York City Ballet in 1972 and worked almost exclusively in classical dance throughout the next decade, pausing only to stage revivals of West Side Story (1980) and Fiddler on the Roof (1981). Truth, moment to moment, was all that mattered. The Wiz/More varied musical and dance genres used With this musical, Robbins blurred the lines between drama and dance as no one had done before. yes, thats it., This was the kind of hands-on collaboration that Bernsteinwho never liked being alone in a roomwould always love. Its not going to work. Sandor also encouraged him to take ballet, which he did with Ella Daganova; in addition he studied Spanish dancing with Helen Veola; Asian dance with Yeichi Nimura; and dance composition with Bessie Schonberg. The problem was that Jerry worked best when it was all instinct, says the playwright John Guare. Does the Colossus mistrust the camera or himself? This man, barefoot and wiry, wears a turtleneck and black tights cropped at the calf. Dostoyevsky territory, Guare calls it. repertory this spring, a tale of two souls fated and luminously fused. Serving Denver's small businesses. Key words: standing over him. In their relationship, Jerry was the leader, dominant, the overlordeveryone says thisand Lenny was flexible, with quick response time and an inexhaustible archive of musical forms from which to pull. The importance of the work of George Balanchine and Jerome Robbins At the age of 13, he teamed up with another young dancer, Charles Grass. For his own company, Ballets U.S.A. (1958 - 1962), he created N.Y. The fusion of forms would be as snug as a switchblade, and the musical would move as the crow flies, direct and dark. Robbins was first known for his skillful use of contemporary American themes in ballets and Broadway and Hollywood musicals. For the movie, Robbins was brought on as a co-director with Robert Wise, taking the helm for the choreographed segments, while Wise covered the narrative scenes. Because Robbins, as choreographer, insisted that his chorus reflect the racial diversity of a New York City crowd, On the Town broke the color bar on Broadway for the first time. Dance Style of Bob Fosse Fosse's unique jazz dance style was stylish, sexy, and easily recognized. Were 70 years on in the life of that ballet and it is so alive, says Damian Woetzel, the incoming president of the Juilliard School and a former principal dancer at the New York City Ballet, where he danced Robbinss own role in Fancy Free. In 1988 he took a leave of absence to stage Jerome Robbins' Broadway, which opened in 1989 to resounding critical and popular acclaim, and in 1990 he resigned from the position of Ballet Master in Chief which he shared with Peter Martins to pursue other projects.A partial list of his 54 creations includes: Dances at a Gathering (1969); The Goldberg Variations (1971); Watermill (1972); Requiem Canticles (1972); The Dybbuk Variations (1974); In G Major (1975); Mother Goose (1975); The Four Seasons (1979); Opus 19: The Dreamer (1979); Piano Pieces (1981); Gershwin Concerto (1982); Glass Pieces (1983); I'm Old Fashioned (1983); Antique Epigraphs (1984); Brahms/Handel (with Twyla Tharp, 1984); In Memory Of (1985); Quiet City (1986); Piccolo Balletto (1986); Ives, Songs (1988); 2 & 3 Part Inventions (1994), and West Side Story Suite (1995). Black Jerome was Bernsteins nickname. He was awarded a fifth Tony Award for it. It was a big, big deal, Lenny and Jerry working together again, remembers Jean-Pierre Frohlich, who oversees the Robbins repertory at N.Y.C.B. Additional Crew: West Side Story. Unlike previous choreographers, Robbins used the natural movement of the characters as the starting point for his choreography. August 14, 2014. They were probably up in Jerrys officetheres a door from the fourth-floor hallway that goes right into that galleryand they just sneaked in to look down and see what was happening onstage. We were always embarrassed by his dancing, says his older daughter, Jamie Bernstein. In 1962, he saved A Funny Thing Happened on the Way to the Forum (1962), a musical farce starring Zero Mostel, Jack Gilford, David Burns, and John Carradine. This dual interest produced a staggering number of ballets and stagings of musical plays, notable for their diversity, brilliance, lyric beauty, and humor. In 1964 they returned to the Wilder with high hopes; Comden and Green were now on board and New York was waiting. The African people were steeped in rich somatic cultures in which dance was a sacred and a celebratory tradition. Bob Fosse is a choreographer, dancer and director best known for Tony Award-winning musicals including 'Chicago' and 'Cabaret.' . Influenced by the work of Jack Cole, Fred Astaire, and Jerome Robbins, Fosse was fluent in a dizzying mix of styles: in Redhead alone he incorporated elements of the ballet, jazz, march, cancan, gypsy dance, and the traditional English music-hall.Influenced by the work of Jack ColeJack ColeCole is credited with choreographing and/or directing . Bob Fosse is one of the most revered figures in the annals of jazz. Jerome Robbins, original surname Rabinowitz, (born Oct. 11, 1918, New York, N.Y., U.S.died July 29, 1998, New York City), one of the most popular and imaginative American choreographers of the 20th century. Left, Philippe Halsman/Magnum Photos; Right, United Artists/Photofest, Digital Colorization by Lee Ruelle. To revist this article, visit My Profile, then View saved stories. How Did Rob Marshall Impact The Dance World. When Serge Koussevitzky, one of the several conductors who mentored Lenny, and himself a Jew, suggested he Anglicize his name to Leonard S. Burns, he replied, Ill do it as Bernstein or not at all. (Pronounced Bern-stine, with a long i.). Jerome Robbins was inducted into the American Theater Hall of Fame in 1979. After a year of college, he found dance and theater through his sister and a summer arts camp, and he began to perform and to choreograph. And Lenny could deliver. Robbins had to make his own luck. A mere eight months later, on December 28, 1944, On the Town opened on Broadway, directed by that granddaddy of the stage George Abbott. Two more Robbins-Bernstein ballets came in 1946 and 1950Facsimile and Age of Anxiety, both psycho-analytically probingbut they are now lost. At the height of his mastery on Broadway he insisted that his billing include a box around his name, showcasing his contribution, protecting it, arms crossed around it. Its teamRobbins, Bernstein, book by Arthur Laurents, lyrics by the fledgling Stephen Sondheimis perhaps the most brilliant in Broadway history. Visionary, intense, and. Jerome Robbins was caught between the moon and New York City. In 1963, Robbins asked Bernstein to help him make a musical of Thornton Wilders apocalyptic The Skin of Our Teeth. The 1980s saw an increased presence on TV as NBC aired Live From Studio 8H: An Evening of Jerome Robbins' Ballets with members of the New York City Ballet, and a retrospective of Robbins's choreography aired on PBS in a 1986 installment of Dance in America. He changed each of his worlds from . In 1937 Robbins made the first of many appearances as a dancer at Camp Tamiment, a resort in the Poconos known for its weekly Broadway-style revues; and he began dancing in the choruses of Broadway shows, including Great Lady and Keep Off the Grass, both choreographed by George Balanchine. His parents were Russian Jewish immigrants who had many connections in show business including vaudeville performers and theatre owners. The second features chamber music masterpieces, including the composer's well-known String Quartet performed by Quartet Integra. Left, Robbins, photographed in his apartment in N.Y.C. Yup, says Paul Gemignani. But when it was put into the context of conducting or composing, suddenly his sense of rhythm was spectacularits what gives his music a thumbprint. Today, people are constantly fusing styles to make new forms of dance and this is what Robbins was doing. Phantom and Grease/Some African-American influence e.g. change, the influence of, for example, Ruth St. Denis on Cole, and the legacies of Cole and Mattox and their contribution to the emergent 'theatre dance form' taught in the case study school are explored. He received equal kudos for his work in commercial theater Broadway. He was noted for his performances in Balanchine's 1929 "The Prodigal Son" (revived expressly for him), Til Eulenspiegel, and (with Tanaquil LeClercq) Bouree Fantasque, as well as for his own ballets, such as Age of Anxiety, The Cage, Afternoon of a Faun, and The Concert, in all of which LeClercq played leading roles. [13] Robbins named the names of persons he said were Communists, including actors Lloyd Gough and Elliot Sullivan, dance critic Edna Ocko, filmmaker Lionel Berman, playwright Jerome Chodorov, his brother Edward Chodorov, Madeline Lee Gilford and her husband Jack Gilford, who were blacklisted for their perceived political beliefs and had their careers suffer noticeably, to the point Gilford and his wife often had to borrow money from friends to make ends meet. (Gypsy was just around the corner.) They were having a real good time, obviously. Jerome Robbins received world renown as a choreographer of ballets created for the New York City Ballet, Ballets U.S.A., American Ballet Theatre, and other international companies. 21-22 Season photography 2020 Jacob Sutton. When he went over to work with Lenny he headed directly to the studio. He received equal acclaim for his work as a director of musicals and plays for Broadway as a director of musicals, as well as a director of movies . Jerry flipped. When I talk of opera, George Abbott wrote to Bernstein a year later, in 1945, I am talking about a new form which does not now exist: I am talking about something which I expect you to create . A storyteller in movement, Robbins daily murdered his darlings and those of his colleaguesdance phrases that were too fancy or distracting, music, text, and emotion that were too much. Yet his torso twists in another direction, and his arms are held tightly behind his back, hidden as if handcuffed. He was a director of musicals, plays, movies, and television programs. His debut made the front page of The New York Times, and the skinny kid, soon dubbed the Sinatra of the concert hall, soared to stardom. Jerome Robbins (born 11 October 1918 in New York City) was the younger of two children of Harry Rabinowitz, who emigrated to America from Poland in 1904, and his wife Lena Rips. [4] He had an older sister, Sonia (1912-2004).[5][6][7]. Robbins suffered a stroke in July 1998, two months after the premiere of his re-staging of Les Noces. Helping his lover, the actor Montgomery Clift, figure out how the role of Romeo might be refashioned in the present tense, Robbins thought, Why not create a contemporary Romeo and Juliet? Digital Library. Theres too much talking going on. And this happens a couple of times. They met in October of 1943, the beginning of what Bernstein would call the year of miracles. Bernstein was living in New York City, marking time as the assistant conductor of the New York Philharmonic, and Robbins was in the classical company Ballet Theatre. He choreographed his first piece when he was just nine years old and continued to create new works throughout his formative years studying at London's Royal Ballet School. Thats exactly whats involved. Bernstein and Robbins admired and antagonized each other, exhilarated and wounded each other, loved and at times hated each other. At New York City Ballet Robbins distinguished himself immediately as both dancer and choreographer. Broadway, ballet, and Jerome Robbins. Later that year, Robbins conceived and choreographed On the Town (1944), a musical partly inspired by Fancy Free, which effectively launched his Broadway career. He wanted to choreograph ballets that were immediately American. Bernstein wrote a magnificent scorebrooding, gliding, gleamingly nocturnal. To improve your experience on our site and ensure your security, please upgrade to a modern browser such as Chrome, Firefox, Safari, or Edge. At the end of that tunnel I could see light where the world opened up, waiting for me., Note the shared language of rapture. The New York premiere was September 26, 1957: Jets and Sharks; Polish-Irish-Italian Americans vs. Puerto Ricans; Tony and Maria. Jazz is so much more than sleek finger snaps, sharp hips, and jazz hands. Who did the choreography for West Side Story 1961? Throughout its history, jazz . How did Jerome Robbins influence Bob Fosse? Images, Digital Colorization by Impact Digital. It spoke to their shared lineage as Russian Jews. It was a show, the critic Louis Biancolli wrote, planned, worked out, and delivered in a ballet key., It was audacious, says the director Harold Prince, who while still in college saw the musical nine times. Paul R. Laird and David Schiff. United States. To promote authenticity, Robbins kept the cast members for the Jets and the Sharks separated from each other during rehearsals and continuously posted news stories about gang violence on the bulletin board . He joined the company of Senya Gluck Sandor, a leading exponent of expressionistic modern dance; it was Sandor who recommended that he change his name to Robbins. With the accent on the endlessly. Jerry had this endless fount of ideas. From here on, so many greats took up jazz dance, each adding their own flair and influencing the others. Original Moves. Among his numerous stage productions were On the Town, Peter Pan, High Button Shoes, The King and I, The Pajama Game, Bells Are Ringing, West Side Story, Gypsy, and Fiddler on the Roof. Perhaps known under the auspice of 'Matt Mattox technique', Mattox's interpretation and approach to jazz dance has been practiced . Both these men were about energypositive, negative, generativeand while they racked up stunning achievements separately, they were elevated when joined. Robbins's primacy on Broadway and in ballet was assured; but he did more than reach the top in his two spheres of influence. They loved to break down the walls between genres, making things more fluid., Obviously, if you break boundaries, says Harold Prince, the producer of West Side Story, you want to break further and larger boundaries. I will never, never work with Jerome Robbins again, as long as I livelong pause of silencefor a while. Gerald Freedman, Robbinss assistant director on West Side Story, remembers Bernstein saying this over dinner, after the show opened. What are the 5 main elements of jazz music? But it didnt happen then. He preferred to describe his method as . 1940's-70's Jerome Robbins Jerome : Robbins' style of jazz dance combined with classical ballet, contemporary dance, vernacular dances/ dances from other culture s and everyday: . Jerome Robbins received world renown as a choreographer of ballets created for the New York City Ballet, Ballets U.S.A., American Ballet Theatre, and other international companies. I loved it so much, and at the same time, more subconsciously, I was trying to see how those disparate elements came together to make such an incredibly successful evening.. In 1950, Robbins was called to testify before the House Committee on Un-American Activities (HUAC), suspected of Communist sympathies. He established and partially endowed the Jerome Robbins Film Archive of the Dance Collection of the New York City Public Library at Lincoln Center. A documentary about Robbins's life and work, Something to Dance About, featuring excerpts from his journals, archival performance and rehearsal footage, and interviews with Robbins and his colleagues, premiered on PBS in 2009 and won both an Emmy and a Peabody Award the same year. Bernstein revealed a gift for lyric simplicity, and his shake-a-leg symphonism, which shot between highbrow dissonance and brash Big Band, had the glitter of mica in Big Apple sidewalks. Published by at February 16, 2022. Jerome Robbins. He had the ability to make the most complex movement appear effortless, and totally reflective of the musical score, as if it were created spontaneously for that exact moment in time. And the one thing that Jerry did not trust was his instinct. His infernal second-guessingan aesthetic integrity that had him tossing out thrilling ideas in search of even better, truer onescould get maddening, irrational. But this was one more thing that Lenny and Jerry had in commonbisexuality. And, man, you couldnt wait to go home and write after you got finished talking to Jerry. But despite a bicycle accident in the 1990s and open-heart surgery in 1995, Robbins kept making dance. In 1960, Robbins co-directed, with Robert Wise, the film adaptation of West Side Story. Said Robbins later: "What [she] gave me immediately was the absolute freedom to make up my own dances without inhibition or doubts." As we were rehearsing we keep hearing guys talking, says Silvey. The material refused to be transformed, says Guare, who was brought in to write the book. He died on Feb. 18 in France. how to get incineroar hidden ability; Lenny was educated at Harvard and then on scholarship at the Curtis Institute of Music. He graduated in 1935 from Woodrow Wilson High School (since renamed as Weehawken High School). They started, but, as often happened, other obligations got in the wayfor Lenny, the Philharmonic; for Jerry, Fiddler on the Roof. Hamilton' is offering $10 lottery tickets for every D.C. performance. personal life Robbins recreated his stage dances for The King and I for the 1956 film version. He cherished memories, dating back to his boyhood, of the times he and his father sang together at temple. At this time, most of Penns subjects were middle-aged and long-established, but not these two. What happened when Balanchine died? How many films did Fred Astaire star in between 1938-1968. But there was no control over that.. Jerry wanted to dig deeper and deeper. After growing up in cabaret nightclubs, the nature of Fosse's signature style was sexually suggestive. Although he gave this testimony only after years of pressure, and threats to make public his sexual orientation, his naming names caused resentment among some of his artistic colleagues, including blacklisted actors Jack Gilford[17] and Zero Mostel, who, while working on Fiddler on the Roof "openly disdained Robbins". He continued to choreograph and stage productions for both the Joffrey Ballet and the New York City Ballet into the 1970s. He is relaxed, his left elbow propped on his left leg, which is hitched up on the seat, and his left cheekbone resting in his left hand as he gazes into the camera. Gene Kelly was born in the Highland Park district of Pittsburgh on August 23, 1912. He nevertheless staged Les Noces for City Ballet in 1998, his last project. With Greg Lawrence's "Dance with Demons: The Life of Jerome Robbins" (Putnam; $32.95), one more biographer has discovered that his subject was . Bernstein wrote the music and Smith designed the sets. Because Robbins was touring with Ballet Theatre, much of the collaboration on Fancy Frees score took place through the mail. The idea for West Side Story came to young director-choreographer Jerome Robbins in the mid-1940s: Shift the Romeo and Juliet story of two warring families to modern New York City.
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