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[4] He had an older sister, Sonia (1912-2004).[5][6][7]. By 1957, the differences between Bernstein and Robbins, which Irving Penn captured so well in those portraits of 47 and 48, were far more pronounced. The sound was spontaneous and streetwise. Each man in his own right was astonishing. Penn Badgley Loves His Wife Too Much to Do Sex Scenes in, I askedSera Gamble, the creator, Can I just do no more intimacy scenes? the former, Inside Thom Browne's Fantastical New York Fashion Week Show With Penn Badgley, Queen Latifah and Lil Nas X. His work will continue to exist and delight us. 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. 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. He nevertheless staged Les Noces for City Ballet in 1998, his last project. Jazz is so much more than sleek finger snaps, sharp hips, and jazz hands. Cole worked to create the style of jazz that is still widely received today, on Broadway, in Hollywood movie musicals and in music videos. The African people were steeped in rich somatic cultures in which dance was a sacred and a celebratory tradition. Two months later his Symphony No. 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. According to Dan Duell, the artistic director of Ballet Chicago, Robbins wanted to capture the rarefied atmosphere that was still alive and breathing there. The second features chamber music masterpieces, including the composer's well-known String Quartet performed by Quartet Integra. Early Life of Bob Fosse. Most importantly, he brought joy, emotional involvement and humorous pleasure to millions of people, not only in the United States, but throughout the entire world. You have the In 1949 Robbins left Ballet Theatre to join George Balanchine and Lincoln Kirstein's newly formed New York City Ballet as Associate Artistic Director. 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.. He directed the Ford 50th Anniversary Show with Mary Martin and Ethel Merman for television in 1953, followed by a 1955 telecast of Peter Pan for which he received an Emmy Award. He died on Feb. 18 in France. He just axed it all. 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. The secondary But it was. With Jerome in one of the leading roles it opened at . Fosse was one of six children and grew up surrounded by dance and theater. Watch on. Rabinowitz was so not American. Even Bernstein, who wrote the music for that show, came in for a pounding, at least psychologically, when Robbins crossed out some of his . April 30, 2013. Influenced initially 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. 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 . "Tradition!" JEROME ROBBINS' BROADWAY features a selection of numbers from FIDDLER ON THE ROOF! Dance Style of Bob Fosse Fosse's unique jazz dance style was stylish, sexy, and easily recognized. In the early 1920s, the Rabinowitz family moved to Weehawken, New Jersey. how to get incineroar hidden ability; 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: . The following year, he directed and co-produced Brecht's Mother Courage and Her Children. Many say that Fosse continued what Robbins began..Even though they both influenced each other. Les Misrables by Composer Claude-Michael Schonberg and lyricist Alain Boublil is based on Victor Hugo's novel of the same title. In the 1940s, their name was legally changed to Robbins. These were true American voices that were addressing what it meant to be American, through dance and music. After growing up in cabaret nightclubs, the nature of Fosse's signature style was sexually suggestive. Robbins suffered a stroke in July 1998, two months after the premiere of his re-staging of Les Noces. The streak of hits continued with Gypsy (1959), starring Ethel Merman. The boy attended a. All performance photography Paul Kolnik or Erin Baiano. But this was one more thing that Lenny and Jerry had in commonbisexuality. Jerry, who had to leave New York University after one year because it was too expensive, was permanently insecure about his lack of education. The problem was that Jerry worked best when it was all instinct, says the playwright John Guare. [14] Because he cooperated with HUAC, Robbins's career did not visibly suffer and he was not blacklisted.[15]. In the Middle Ages travelling minstrels and troupes of actors, dancers and singers performed popular songs and slapstick comedy. One of the greats who made this impact . 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. 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. I wanted to be safe, protected, assimilated. Once he began performing, his name changed program to program, from Robin Gerald to Gerald Robins to Jerry Robyns to Gerald Robin to Jerome Robbins. I want to seize a clear and brilliant diamond, says Chanon in Anskys play, to dissolve it in tears and draw it into my soul! Robbins was no doubt referring to this line when he said, some years later, that hed wanted to make a very hard diamond of a ballet. Perhaps he couldnt see it at the time, but thats exactly what he and Bernstein madea black diamond, glinting with astral refractions. He was a director of musicals, plays, movies, and television programs. Jerome Robbins' more jazz-based work on such shows like West Side Storyalso seems to draw from the stylization and basic foundation that Cole set forththe best example of this being, fittingly, the song "Cool." Both these men were about energypositive, negative, generativeand while they racked up stunning achievements separately, they were elevated when joined. He was a director of musicals, plays, movies, and television programs. When they first conceived the show in 1949, Robbins, Bernstein and Laurents set their story on the east side of Manhattan, and gave it the working title East Side Story. 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. 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. personal life how did jerome robbins influence jazz Soon after that he choreographed The Guests, a ballet about intolerance. Starring Jason Alexander as the narrator (a performance that would win Alexander a Tony), 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. Robbins had romantic relationships with a number of people, including Montgomery Clift, Nora Kaye, Buzz Miller and Jess Gerstein. He was the influencer behind huge choreographic names such as Bob Fosse, with his work reaching the likes of modern dance greats Alvin Ailey and Jerome Robbins. Paul R. Laird and David Schiff. Their last collaboration to see the stage was a work they had wanted to do since Fancy Frees premiere. In 1944, flush with the future, they were both drawn backward to a Yiddish classic of 1920S. Jerome Robbins, who died in 1998, was less public, a watcher whose uncompromising vision as a choreographer and directorin ballet and on Broadway, in shows filmed and on televisionplaced the power of dance before Americas baby-boomers and their parents. Robert Louis "Bob" Fosse was born on June 23, 1927, in Chicago, Illinois. Bob Fosse is a choreographer, dancer and director best known for Tony Award-winning musicals including 'Chicago' and 'Cabaret.' How Did Rob Marshall Impact The Dance World. arizona speedway 2022 schedule. This may be metaphorical but its the way I remember it. However, she did not seriously pursue a career in the profession until she was a student . The New York premiere was September 26, 1957: Jets and Sharks; Polish-Irish-Italian Americans vs. Puerto Ricans; Tony and Maria. And despite his wit and charm after hours, Robbins at work used confrontation and cruelty to get his way. by Philippe Halsman, 1959; right, director-choreographer Robbins on the set of West Side Story with Chakiris and Verso. How did Jerome Robbins influence Bob Fosse? Lennys mother, Jennie, doted and adored, while Jerrys mother, Lena, was impossible to please (a favorite gambit: if Jerry misbehaved, she would pretend to call the orphanage with a donationhim). Until the end of their lives, Lenny and Jerrys respect for each other, their mutual support, never wavered. Jerome Robbins is world renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies and television. Though a dazzling mimic and scene-stealer in character roles, he was tired of dancing courtiers and exotics in the corps. He contributed a great body of superb work to our dance culture, represented all over the world, and in the continuous performances of musicals during the last 35 years. mix of styles: in Redhead alone he incorporated elements of the ballet, jazz, march, cancan, gypsy dance, and the traditional English music-hall. Original Moves. 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. Matt Mattox: A Dancing Life. Leonard Bernstein never looked more beautiful. At the age of 79, six weeks after overseeing a revival of Les Noces for New York City. Who did the choreography for West Side Story 1961? aligning, says John Guare. 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. [3] The family had many show business connections, including vaudeville performers and theater owners. In all, he was awarded with five Tony Awards, two Academy Awards (including the special Academy Honorary Award), the Kennedy Center Honors (1981), the National Medal of Arts (1988), the French Legion of Honor, and an Honorary Membership in the American Academy and Institute of Arts and Letters. Robbins was still highly sought after as a show doctor. 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. 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". This dual interest produced a staggering number of ballets and stagings of musical plays, notable for their diversity, brilliance, lyric beauty, and humor. It was a very precious subject to Jerry, says former N.Y.C.B. As we were rehearsing we keep hearing guys talking, says Silvey. Masters at Work: Balanchine & Robbins III, Art Series 2018: Jihan Zencirli / GERONIMO, Artistic Directors' Coalition for Ballet in America. With this musical, Robbins blurred the lines between drama and dance as no one had done before. 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. 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. Because Robbins was touring with Ballet Theatre, much of the collaboration on Fancy Frees score took place through the mail. And you could see that the dancers, even when they came on tired, responded to Mr. Bernstein like hepcats to Harry James. Bernsteins physical brio on the podium would become a signaturethe Lenny dance, he called it. Because book, music, and dance were envisioned as an organic whole, the cast, in a Broadway first, had to be equally skilled as actors, singers, and dancers. That a whole show could bounce out of a short ballet attests not only to the emotional richness of Fancy Free but to the ready invention of Robbins and Bernstein, now joined by the madcap writing team Betty Comden and Adolph Green. He cherished memories, dating back to his boyhood, of the times he and his father sang together at temple. The production, with book by Burt Shevelove and Larry Gelbart, and score by Stephen Sondheim, was not working. yes, thats it., This was the kind of hands-on collaboration that Bernsteinwho never liked being alone in a roomwould always love. August 14, 2014. With the accent on the endlessly. Jerry had this endless fount of ideas. He received equal kudos for his work in commercial theater Broadway. This man, barefoot and wiry, wears a turtleneck and black tights cropped at the calf. Regarding Jerry, Bernsteins view was simple: We have to cater to genius. Dostoyevsky territory, Guare calls it. But when Jerry was coming over and there was a big meeting, he was scared. In the company of geniuses, Jerry was primus inter pares, first among equals. They had in common a hatred of failure. The musical is based (loosely) on the life of stripper Gypsy Rose Lee. While he was forging a career on Broadway, Robbins continued to work in ballet, creating a string of inventive and stylistically diverse ballets, including Interplay, which was set to a score by Morton Gould, and Facsimile, which was set to music by Leonard Bernstein and was banned in Boston [CK]. The subject for this new form, however, came not to Bernstein but to Robbins, in 1947. 21-22 Season photography 2020 Jacob Sutton. Im out in the house and even the dancers are kind of annoyed. From 1941 through 1944, Robbins was a soloist with the company, attracting notice for his performance as 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; he also came under the influence of the choreographers Michel Fokine, Antony Tudor, and George Balanchine. "Bernstein, Leonard." Robbins joined the newly formed New York City Ballet in 1949 and was quickly named associate artistic director under George Balanchine. Jerome Robbins was one of the founding members of the Ballet Theatre when it was formed in 1940 portraying a variety of roles for several years before devising his own creations such as 'Fancy Free' about 3 sailors on leave in New York which marked a long association with Leonard Bernstein. David H. Koch Theater And certainly never Lenny. Bernsteins would come a month later, when on November 14 he took the podium at Carnegie Hallwithout rehearsal!and conducted for the ailing Bruno Walter. As far as Im concerned, theres West Side Story and then there are musicals. This was the pinnacle of the Bernstein-Robbins enterprise. (When you make your first work with someone, Robbins would say in an interview before Dybbuks premiere, it makes for a certain bond.) And the plays focus on the existential secrets of the Kabbalah had a Promethean subtext, the reaching after cosmicread artisticpower. Robbins, though willing to confess to past party membership, resisted naming names of others with similar political connections; he held out for three years until, according to two family members in whom he confided, he was threatened with public exposure of his homosexuality. He established and partially endowed the Jerome Robbins Film Archive of the Dance Collection of the New York City Public Library at Lincoln Center. What are the 5 main elements of jazz music? 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. How did Jerome Robbins influence dance? Off-Broadway, he directed the play by Arthur Kopit, Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling So Sad (1962). 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. . Others say not. He was a telegenic musical menschmagisterial. Thus the movement might be jazzy or balletic, romantic or angular, athletic or even a little bumbling, depending on the circumstances: even in A Chorus Line the dancers' execution becomes . [9] Two years later, Robbins received plaudits for his humorous Mack Sennett ballet, High Button Shoes (1947), and won his first Tony Award for choreography. I thought, Ive never seen classical music, classical ballet, and a lighthearted zany show all put together and make sense. And the excitement was realized. When Leonard Bernstein and Jerome Robbins met 75 years ago, they were young men hungry for their Big Break. Posted on June 11, 2022 by . His feet press against the walls, a stride that suggests the Colossus of Rhodes. Black Jerome was Bernsteins nickname. And when it came to being Jewish, Lenny was proud of his heritage. [18] Leonard Bernstein and Arthur Laurents worked with him on West Side Story only a few years after they had been blacklisted."[19]. 1)Ginger Rodgers 2)Cyd Charisse 3)Rita Hayworth He made is first professional appearance in August 1930, and although he had previously studied ballet, Cole was entranced by the Asian influences Denishawn utilized in its choreography and costuming. He was a perfectionist whose gypsy instinct for the essential, his eye as sharp as a shiv, demanded the best in others or just go home. At this time, most of Penns subjects were middle-aged and long-established, but not these two. A collaboration as frequent and close as theirs is a marriage, says Throughout its history, jazz . The production ran over a year off-Broadway and was transferred to Broadway for a short run in 1963, after which Robbins directed Anne Bancroft in a revival of Bertolt Brecht's Mother Courage and Her Children. They planned to stage the conflict between rival Catholic and Jewish groups. What three combinations of styles did Fred Astaire perform? Robbins shared the Academy Award for Best Director with Robert Wise for the film version of West Side Story (1961). Leave it to Jerome Robbins to choreograph a dance of inner conflict that lasts the length of a shutters click. 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.[11]. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Cond Nast. In 1964 they returned to the Wilder with high hopes; Comden and Green were now on board and New York was waiting. had an influence on Fosse's choreography. Privately, Bernstein called it a dreadful experience. The Robbins biographer Amanda Vaill suggests that Robbins may have become just too authoritarian for his On the Town family. Jerry did not feel lovable and was deeply guarded. . Jerry wanted to dig deeper and deeper. The harmonies, the way that Bernstein wrote the city, says Paul Gemignani, musical director of Jerome Robbins Broadway, in 1989, it sounded like New York in 1944, as opposed to New York in Gershwins time. Bernstein was blown away by Robbinss acute theatrical instinctsincredible, musically. Yes, Jerrys instincts were already impressive. Export: Opus Jazz (1958), Moves (1959), and Events (1961). After about 45 days of shooting, he was fired when the production was considered 24 days behind schedule. During rehearsals for it, an incident happened that became a part of Robbins and Broadway lore: the choreographer, preoccupied by giving directions to the dancers, backed up onstage until he fell into the orchestra pit. (Gypsy was just around the corner.) Unlike previous choreographers, Robbins used the natural movement of the characters as the starting point for his choreography. Perhaps known under the auspice of 'Matt Mattox technique', Mattox's interpretation and approach to jazz dance has been practiced . New York, NY 10023 Dybbuk Dybbuk Dybbuk, Robbins wrote to Bernstein in 1958. [16] However, when the film received 10 Academy Awards for the 1961 award year, Robbins won two, one for his Direction and one for "Brilliant Achievements in the Art of Choreography on Film". Or like two boy wondersco-pilots on the same comet. The atypical nature of both the musicals that has made them . It was also during this time that Matt Mattox, who had been a dancer of the Jack Cole style in many Hollywood musicals, began to develop his own teaching . Bernstein was steeped in the classical repertory, and he was a savant when it came to rhythm. When he went over to work with Lenny he headed directly to the studio. Although he began as a modern dancer, his start on Broadway was as a chorus dancer before joining the corps de ballet of American Ballet Theatre in 1939, where he went on to dance principal roles in the works of Fokine, Tudor, Massine, Balanchine, Lichine, and de Mille. Robbins himself wrote, We did not want to think of a world after a nuclear war. Adam Greens understanding from his father was that Jerry got restless and walked away, and then Lenny did, too.. West Side Story was originally East Side Story. Theres no boss in the room., Bernsteins never, neverfor a while always passed. Robbins was only the second director to win the Academy Award for Best Director for a film debut (after Delbert Mann for Marty). How did Bob Fosse influence jazz dance? He graduated in 1935 from Woodrow Wilson High School (since renamed as Weehawken High School). Bob Fosse is one of the most revered figures in the annals of jazz. 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. Get the latest chatter, from Kensington Palace and beyond, straight to your inbox. On Balanchine's death in 1983, Robbins was appointed artistic director of New York City Ballet. The carpets mossy folds throw luxuriant shadows, and the musician upon them wears white tie and tails, a black overcoat caping his shoulders. His first musical, On the Town, (1945), was followed by Billion Dollar Baby (1946), High Button Shoes (1947), Look, Ma, I'm Dancing (which he co-directed with George Abbott in 1948), Miss Liberty (1949), Call Me Madame (1950), and the ballet "Small House of Uncle Thomas" in The King and I (1951). In the summer of 1937 Robbins began dancing and choreographing at Tamiment, a progressive-movement resort in Pennsylvania's Pocono mountains which featured a resident singing-acting-dancing troupe and weekend revues starring emerging talents like Danny Kaye, Imogene Coca, and Carol Channing. & About Fosse and Robbins Oxford Music Online. In 1956 Robbins's muse, Tanaquil LeClercq, contracted polio and was paralyzed; for the next decade Robbins largely withdrew from his activities at New York City Ballet, but he established his own small dance company, Ballets USA, which premiered at the inaugural season of Gian Carlo Menotti's Festival of the Two Worlds in Spoleto, Italy in June 1958, toured Europe and the US under the auspices of the State Department, and appeared on television on The Ed Sullivan Show. He received equal kudos for his work in commercial theater Broadway. 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. dancer Bart Cook, one that he really wanted to dobut was afraid of. While both men loved music, including the songs of the synagogue, and took pride in the accomplishments of their children (Lenny had younger siblings Shirley and Burton; Jerry an older sister, Sonia), they expected their sons to come into the family business and were horrified by the artistic ambitions blossoming in their homes. Company Martha Swope. Is that a cigarette butt lying on the floor? In 1949, a first try by Robbins, Bernstein, and the writer Arthur Laurents, which substituted Catholics and Jews for Capulets and Montagues, went nowhere. His father and uncle opened the Comfort Corset Company in nearby Union City. 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. May 20, 2001. QUICK FACTS Name: Jerome Robbins. Jerry would not give him that opening. Again, Jerry walked out of the projectin the middle of casting, no lessand Lenny burst into tears. The third of five children, Kelly was a sports fanatic and dreamed of playing shortstop for the Pittsburgh Pirates. 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. 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. At their best, they completed each other. When a piano belonging to Aunt Clara was parked in the Bernstein hallway, Lenny, aged 10, found his reason to be. Robbins's next musical was a jazz-age fable,Billion Dollar Baby (1945). Robbins was a five-time Tony Award-winner and a recipient of the Kennedy Center Honors. After inundating company management with over-ambitious ideas for ballets, Robbins finally offered up a timely, simple scenariothree wartime sailors on shore leave in Manhattan. He continued to choreograph and stage productions for both the Joffrey Ballet and the New York City Ballet into the 1970s. He was a director of musicals, plays, movies, and television programs. 30 films. Bernstein and Robbins during an N.Y.C.B. Blend of musical theatre and ballet. Robbins commissioned the score for the ballet from Leonard Bernstein, who was a relatively unknown composer at the time. Robbins began studying modern dance in high school with Alys [CK] Bentley, who encouraged her pupils to improvise steps to music. Management bit. No matter what the material was, says Guare, if Jerry wanted to do it, people would follow him. And if the material wasnt right? Rock Musicals e.g. 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. The Wiz/More varied musical and dance genres used 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. 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. 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. . For Jerry, being Jewish brought shame and fear. Vanity Fair may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. His parents were Russian Jewish immigrants who had many connections in show business including vaudeville performers and theatre owners. A genius for me means endlessly inventive, says Sondheim. In 1995, Jerome Robbins instructed the directors of his foundation to establish a prize for "some really greatly outstanding person or art institution. Robbins recreated his stage dances for The King and I for the 1956 film version. Here's a glimpse at one of the classics you'll see when you.