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May 26, 2020 · There is no attempt to hide it. “Cool” exemplifies many qualities that make a piece a "Jerome Robbins" piece: a fluid mix of musical theater and ballet styles, a focus on relationships and raw emotion, and the sheer “American-ness” of it. You can’t watch “Cool” without feelingsomething.
May 16, 2018 · The Cage is set to Igor Stravinsky’s Concerto in D for String Orchestra. Robbins made it in 1951 (the same year that The King and I, with his choreography, opened on Broadway). In the savage ...
Dec 4, 2014 · Jerome Robbins explores who characters interact and come together through the medium of dance. Robbins allows us to see how different relationships from example we see the affection between Maria and Tony as love, Maria and Bernado as Siblings with his protective nature as her brother, and between Tony and Bernado as rivals.
Feb 11, 2018 · Watch & Read Jerome Robbins: in his own words. A selection of quotes on ballet to get inside the mind of the creative genius behind The Cage, which we perform in April – and of course many more iconic works, including Dances at a Gathering, West Side Story and On The Town. The Cage (1955), Nora Kaye & Nicholas Magallanes, courtesy NYCB ...
Jerome Robbins, the choreographer and director, eventually realized he could do the setup of the whole production best in dance. And he did. In 1957, when dance rehearsals began for West Side Story, Robbins was a well-known choreographer for Broadway and ballet. Robbins knew that dance could best convey a primary conflict of West Side Story ...
Jerome Robbins (born Oct. 11, 1918, New York, N.Y., U.S.—died July 29, 1998, New York City) was one of the most popular and imaginative American choreographers of the 20th century. Robbins was first known for his skillful use of contemporary American themes in ballets and Broadway and Hollywood musicals. He won acclaim for highly innovative ...
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The Jerome Robbins Catalogue is a database that chronicles every known work created by Jerome Robbins, whether on a stage or on a screen. The listing organizes the material chronologically and outlines the span of his creativity over more than fifty years, from Fancy Free, choreographed for Ballet Theatre in 1944, to Brandenburg, choreographed for New York City Ballet in 1997, his final creation.
