registered in England (Company No 02017289) with its registered office at Building 3, The repetitive patterns of Glass music impelled images of city traffic and individuals preoccupied with their own paths. Bob Fosse and Susan Stroman are big-name Broadway choreographers who admired Robbins. Then they begin to move. For three years he resisted. Q & A with Producer/Director Judy Kinberg. How West Side Story Then and Now Uses Music, Dance and Politics to Jerome Robbins Biography - Childhood, Life Achievements & Timeline He simply pulled my head forward to place a kiss on my forehead. Report this resourceto let us know if it violates our terms and conditions. After every show, he weighed in. #100daysofRobbins #day13. Deborah Jowitt, a dance critic and historian, is the author of Jerome Robbins: His Life, His Theater, His Dance. In 1957 he enlisted his old collaborator Leonard Bernstein, plus the playwright Arthur Laurents and novice lyricist Stephen Sondheim, to re-imagine Romeo and Juliet for the gang-ridden streets of New York City. 300. turning on one foot. For the next three years he worked on an experimental theatre project, the American Theatre Laboratory, but in 1969 he returned to NYCB. He willingly admitted to his youthful stint as a Communist, and, threatened with potential blacklisting and exposure of his homosexuality, he agreed to name other Communist sympathizers. His last work, Brandenburg, premiered there in 1997. Since 1958 Robbins had worked with the ballet company he had founded, Ballets U.S.A., which toured sporadically until 1961. It was never shown: Robbins never finished it. It caused a sensation (22 curtain calls on the first night) and catapulted Robbins and Bernstein to fame and fortune. "Father of Theatrical Jazz Dance" Jack Cole. George Balanchine cast him in the chorus of a pair of Broadway shows, and soon after, he got into Ballet Theatre (later American Ballet Theatre). Jazz is so much more than sleek finger snaps, sharp hips, and jazz hands. 0 Andrew Gans New York City Ballet was not unfamiliar to him; he had performed in the company and made ballets for it during the late 1940s and early 1950s, juggling that job and stints choreographing musicals.