Jerome Robbins

Jerome Robbins
Born Jerome Wilson Rabinowitz
(1918-10-11)October 11, 1918
New York City, USA
Died July 29, 1998(1998-07-29) (aged 79)
New York City, USA
Nationality American
Occupation theater producer, director, and choreographer
Awards full list

Jerome Robbins (October 11, 1918 – July 29, 1998) was an American choreographer, director, and theater producer who worked in classical ballet, on Broadway, and in films and television. Among his numerous stage productions he worked on were On the Town, Peter Pan, High Button Shoes, The King And I, The Pajama Game, Bells Are Ringing, West Side Story, Gypsy: A Musical Fable, and Fiddler on the Roof; Robbins was a five time Tony award winner and a recipient of the Kennedy Center Honors. He received two Academy Awards, including the 1961 Academy Award for Best Director with Robert Wise for West Side Story. A documentary about his 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.[1][2]

Early life

Robbins was born Jerome Wilson Rabinowitz in the Jewish Maternity Hospital in the heart of Manhattan’s Lower East Side – a neighborhood populated by many immigrants.[3]

The Rabinowitz family lived in a large apartment house at 51 East 97th at the northeast corner of Madison Avenue. Known as "Jerry" to those close to him, Robbins was given a middle name that reflected his parents' patriotic enthusiasm for the then-president.

In the early 1920s, the Rabinowitz family moved to Weehawken, New Jersey. His father and uncle opened the Comfort Corset Company. The family had many show business connections, including vaudeville performers and theater owners.

Robbins began studying modern dance in high school with Alys [CK] Bentley, who encouraged her pupils to improvise steps to music. Said Robbins later: "What [she] gave me immediately was the absolute freedom to make up my own dances without inhibition or doubts.” 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. 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. 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. While a member of Sandor’s company Robbins made his stage debut with the Yiddish Art Theater, in a small role in The Brothers Ashkenazi.

Career

1930s and 40s

Robbins in Three Virgins and a Devil, 1941

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; he also began dancing in the choruses of such Broadway shows as Great Lady, and Keep Off the Grass, both choreographed by George Balanchine. Robbins had also begun creating dances for Tamiment’s Revues, some comic (featuring the talents of Imogene Coca and Carol Channing) and some dramatic, topical, and controversial. One such dance, later also performed in New York City at the 92nd Street Y, was “Strange Fruit,” set to the song performed indelibly by Billie Holiday.

In 1940, Robbins joined Ballet Theatre (later known as American Ballet Theatre). From 1941 through 1944, Robbins was a soloist with the company, gaining notice for his Hermes in Helen of Troy, the title role in Petrouchka, the Youth in Agnes de Mille’s Three Virgins and a Devil, and Benvolio in Romeo and Juliet; and coming under the influence of the choreographers Michel Fokine, Antony Tudor, and George Balanchine.

Robbins created and performed in Fancy Free, a ballet about sailors on liberty, at the Metropolitan Opera as part of the Ballet Theatre season in 1944. . One of Fancy Free's inspirations was Paul Cadmus' 1934 painting The Fleet's In! However, Robbins' scenario was more lighthearted than the painting. 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." Robbins commissioned a score for the ballet from the then-unknown Leonard Bernstein[4] and enlisted Oliver Smith as set designer. With [Fancy Free (ballet)|Fancy Free]], Robbins created a dance that integrated classic ballet, 1940’s social dancing, and a screwball plotline.

Later that year, Robbins conceived and choreographed On the Town (1944), a musical partly inspired by Fancy Free, which effectively launched his Broadway career. Bernstein wrote the music and Smith designed the sets. The book and lyrics were by a team that Robbins would work with again, Betty Comden and Adolph Green, and the director was the Broadway legend George Abbott. 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. Robbins' next musical was the jazz age fable Billion Dollar Baby (1945), and during rehearsals for the show an incident happened that became a part of Robbins – and Broadway – lore: the choreographer, preoccupied giving directions to the dancers, backed up onstage until he fell into the orchestra pit.[5] Two years later, he received plaudits for his humorous Mack Sennett ballet in High Button Shoes (1947), and won his first Tony Award for choreography. That same year, Robbins would become one of the first members of New York's newly formed Actors Studio, attending classes held by founding member Robert Lewis three times a week, alongside classmates such as Marlon Brando, Maureen Stapleton, Montgomery Clift, Herbert Berghof, Sidney Lumet, and about 20 others.[6] In 1948 he added another credit to his resume, becoming co-director as well as choreographer for Look Ma, I’m Dancin’!; and the year after that teamed with Irving Berlin to choreograph Miss Liberty.

While he was forging a career on Broadway, Robbins continued to work in ballet, creating a string of inventive and stylistically diverse works including Interplay, to a score by Morton Gould, and Facsimile, to music by Leonard Bernstein, a ballet that was banned in Boston [CK]. In 1949 Robbins left Ballet Theatre to join George Balanchine and Lincoln Kirstein’s newly-formed New York City Ballet as Associate Artistic Director. Soon after that he choreographed “The Guests,” a ballet about intolerance.

1950s

close-up portrait shot of a man in his 30s. The image appears to have been shot from above the man and slightly to the right of him, so his head appears at an angle. The man has a full head of wavy black hair, he appears to be slightly smiling as he regards the viewer, and enough of his shirt can be viewed to see that that his collar is open.
Robbins in 1951

At New York City Ballet Robbins distinguished himself immediately as both dancer and choreographer. He was noted for his performances in Balanchine’s 1929 “The Prodigal Son” (revived expressly for him), Til Eulenspiegel, and (with Tanaquil Le Clercq) 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 Le Clercq played leading roles. He continued working on Broadway, as well as, staging dances for Irving Berlin's Call Me Madam, starring Ethel Merman, Rodgers and Hammerstein's The King and I, in which he created the celebrated “Small House of Uncle Thomas” ballet in addition to other dances, and the revue Two’s Company, starring Bette Davis.

He also performed uncredited show doctoring on the musicals A Tree Grows in Brooklyn (1951), Wish You Were Here (1952), Wonderful Town (1953), and choreographed and directed several sketches for the Ford 50th Anniversary Show, starring Mary Martin and Ethel Merman on CBS.

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 the small screen in later in 1955, winning an Emmy Award, and again in 1956 and 1960). He also directed and co-choreographed (with Bob Fosse) Bells Are Ringing (1956), starring Judy Holliday. Robbins recreated his stage dances for The King and I for the 1956 film version. In 1957, he conceived, choreographed, and directed West Side Story.

The Fleet's In!, painted by Paul Cadmus, 1934, the inspiration for the ballet, Fancy Free (1944)

West Side Story is a contemporary version of Romeo and Juliet, set in Hell's Kitchen. The show, with music by Leonard Bernstein, marked the first collaboration between Robbins and Stephen Sondheim, who wrote the lyrics, as well as Arthur Laurents, who wrote the book. To help the young cast grow into their roles, Robbins did not allow those playing members of opposite gangs (Jets and Sharks) to mix during the rehearsal process. He also, according to dancer Linda Talcott Lee, "played psychological games" with the cast: “And he would plant rumors among one gang about the other, so they really hated each other.”[7] Although it opened to good reviews, it was overshadowed by Meredith Willson's The Music Man at that year's Tony Awards. West Side Story did, however, earn Robbins his second Tony Award for choreography.

The streak of hits continued with Gypsy (1959), starring Ethel Merman. Robbins re-teamed with Sondheim and Laurents, and the music was by Jule Styne. The musical is based—loosely—on the life of stripper Gypsy Rose Lee.

House Un-American Activities Committee

In the early 1950s, he was called to testify before the House Committee on Un-American Activities (HUAC), suspected of Communist sympathies. Robbins had resisted naming names for three years but claims he relented after he was threatened with public exposure of his homosexuality.[8] Robbins named the names of persons he said were Communists, including actors Lloyd Gough and Elliot Sullivan, dance critic Edna Ocko, Madeline Lee Gilford, filmmaker Lionel Berman and playwright Jerome Chodorov and his brother Edward Chodorov. Because he cooperated with HUAC, Robbins's career did not visibly suffer and he was not blacklisted.[9]

1960s

Rehearsals for West Side Story, 1961

Robbins directed, with Robert Wise, the highly successful 1961 movie version of West Side Story. However, he took so long with rehearsals and filming of dances that he was fired during production, though he did receive credit as co-director.

In 1962, Robbins directed Arthur Kopit's unconventional play Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad. The production ran over a year off-Broadway and was transferred to Broadway for a short run in 1963.

Robbins was still highly sought after as a show doctor. He took over the direction of two troubled productions during this period and helped turn them into successes. 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. The production, with book by Burt Shevelove and Larry Gelbart, and songs by Stephen Sondheim, was not working. Robbins staged an entirely new opening number which explained to the audience what was to follow, and the show played successfully from then on. In 1964, he took on a floundering Funny Girl and devised a show that ran 1348 performances. The musical helped turn lead Barbra Streisand into a superstar.

That same year, Robbins won Tony Awards for his direction and choreography in Fiddler on the Roof (1964). The show starred Zero Mostel as Tevye and ran for 3242 performances, setting the record (since surpassed) for longest-running Broadway show. The plot, about Jews living in Russia near the beginning of the 20th century, allowed Robbins to return to his religious roots.

1970s and 80s

He continued to choreograph and stage productions for both the Joffrey Ballet and the New York City Ballet into the 1970s. 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). In 1981, his Chamber Dance Company toured the People's Republic of China.

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. The latter led to his creating the anthology show Jerome Robbins' Broadway in 1989 which recreated the most successful production numbers from his 50-plus year career. Starring Jason Alexander as the narrator, the show included stagings of cut numbers like Irving Berlin's Mr. Monotony and well-known ones like the "Tradition" number from Fiddler on the Roof. He was awarded a fifth Tony Award for it.

1990s

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 nevertheless staged Les Noces for City Ballet in 1998, his last project.

Death

Robbins suffered a stroke in July 1998, two months after the premiere of his re-staging of Les Noces. He died at his home in New York on July 29, 1998. On the evening of his death, the lights of Broadway were dimmed for a moment in tribute. He was cremated and his ashes were scattered on the Atlantic Ocean.

Personal life

Robbins was bisexual: he had a relationship with Montgomery Clift and never married.[3][9]

For many years Robbins maintained a close friendship with ballerina Tanaquil LeClercq. As documented in the film "Tanaquil Le Clercq: Afternoon of a Faun," they expressed deep mutual affection.[10]

Awards

Robbins shared the Best Director Oscar with Robert Wise for the film version of West Side Story (1961). Robbins was only the second director to win the Academy Award for Best Director for a film debut (after Delbert Mann for Marty). That same year, the Academy of Motion Picture Arts and Sciences honored him with a special award for his choreographic achievements on film.

In all, he was awarded with five Tony Awards, two Academy Awards, the Kennedy Center Honors (1981), the National Medal of Arts (1988), the French Legion of Honor, three honorary doctorates, and an Honorary Membership in the American Academy and Institute of Arts and Letters.

Jerome Robbins was inducted into the American Theater Hall of Fame in 1979.[11] Robbins was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame 10 years later, in 1989.

Jerome Robbins Award

In 1995, Jerome Robbins instructed the directors of his foundation to establish a prize for "some really greatly outstanding person or art institution. The prizes should "lean toward the arts of dance ..." The first two Jerome Robbins Awards were bestowed in 2003, to New York City Ballet and to lighting designer Jennifer Tipton.[12]

Broadway productions

Bibliography

References

  1. ↑ Fick, David (November 12, 2008). "Something to dance about: new Jerome Robbins documentary". Musical Cyberspace. Retrieved 2014-02-25.
  2. ↑ 69th Annual Peabody Awards, May 2010.
  3. 1 2 Kisselgoff, Anna (July 30, 1998). "Jerome Robbins, 79, Is Dead; Giant of Ballet and Broadway". The New York Times. Retrieved 2014-02-25.
  4. ↑ Paul R. Laird and David Schiff. "Bernstein, Leonard." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 14 Aug. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2223796>.
  5. ↑ Green, Jesse (March 15, 2009). "When You’re a Shark You’re a Shark All the Way". New York. Retrieved 2014-02-25.
  6. ↑ Lewis, Robert (1996). "The Actors Studio, 1947". Slings and Arrows: Theater in My Life. New York: Applause Books. p. 183. ISBN 1-55783-244-7. Retrieved 2014-02-25. At the end of the summer, on Gadget's return from Hollywood, we settled the roster of actors for our two classes in what we called the Actors Studio - using the word 'studio' as we had when we named our workshop in the Group, the Group Theatre Studio... My group, meeting three times a week, consisted of Marlon Brando, Montgomery Clift, Maureen Stapleton, Eli Wallach, Mildred Dunnock, Jerome Robbins, Herbert Berghof, Tom Ewell, John Forsythe, Anne Jackson, Sidney Lumet, Kevin McCarthy, Karl Malden, E.G. Marshall, Patricia Neal, Beatrice Straight, David Wayne, and - well, I don't want to drop names, so I'll stop there. In all, there were about fifty.
  7. ↑ Gihring, Tim; Scott, Gregory J. (July 2011). "July 2011 Arts Calendar". Minnesota Monthly. Greenspring Media Group Inc. Retrieved 2014-02-25.
  8. ↑ Vaill, Amanda (January 27, 2009). "Jerome Robbins-About the Artist". American Masters. PBS. Retrieved 2014-02-25.
  9. 1 2 Vaill, Amanda (May 6, 2008). Somewhere: The Life of Jerome Robbins. New York: Broadway Books. ISBN 978-0767904216.
  10. ↑ http://www.pbs.org/wnet/americanmasters/tanaquil-le-clercq-letters-tanaquil-le-clercq-jerome-robbins/4772/
  11. ↑ "About Jerome Robbins: Awards & Honors". JeromeRobbins.org. Retrieved 2014-02-25.
  12. ↑ "Jerome Robbins Award". Jerome Robbins Foundation. Retrieved 2014-02-27.

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