Celebrate Jerome Robbins' Would-Be 100th Birthday With 10 Rarely-Seen Photos
2018 has seen an endless parade of celebrations in anticipation of Jerome Robbins' centennial—and now the day has finally arrived. In honor of what would have been his 100th birthday, we dove into our photo archives and selected a few favorite shots of the choreographer whose career defined (and redefined) American dance.
A young Robbins, 1944
Photo courtesy DM Archives
Robbins with Nancy Walker, the lead in his 1948 Broadway musical Look, Ma, I'm Dancin'!
Photo by Eileen Darby, Courtesy DM Archives
Robbins in Balanchine's Tyl Ulenspiegel, 1951
Photo by Walter E. Owen, Courtesy DM Archives
A rehearsal for The Concert (or, The Perils of Everybody), 1960
Photo by CBS Television Network, Courtesy DM Archives
Robbins (center) rehearsing West Side Story
Photo by Friedman-Abeles, Courtesy DM Archives
Robbins giving notes to Maria Karnilova and Zero Mostel, of the 1964 Broadway cast of Fiddler on the Roof
Photo by Eileen Darby-Graphic House, Courtesy DM Archives
Robbins (left) with Balanchine (bottom left) and the choreographers for NYCB's 1972 Stravinsky Festival
Photo courtesy DM Archives
Jean-Pierre Bonnefoux, Paolo Bortoluzzi, Malika Sabirova, Violette Verdy, Muzafar Bourkhanov, Robbins, Antoinette Sibley, Antony Dowell, Patricia McBride, Helgi Tomasson and Carla Fracci at the Spoleto Festival, 1973
Photo by Lionello Fabbri, Courtesy DM Archives
Robbins and Antoinette Sibley rehearse his Afternoon of a Faun
Photo by Michael Childers, Courtesy DM Archives
Carmen de Lavallade and Robbins chat with Yves St. Laurent
Photo by Whitestone Photo, Courtesy DM Archives
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Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.