By Greg Lawrence
The 1st biography of the prestigious choreographer/director of Broadway, ballet, and Hollywood-a guy of towering fulfillment and impressive own demons.For a long time he was once essentially the most commanding inventive forces in the United States. His paintings on such exhibits as in town, The King and that i, West aspect tale, Fiddler at the Roof, Gypsy, and Jerome Robbins's Broadway earned him 5 Tony Awards and Academy Awards. His brilliance with American Ballet Theatre and ny urban Ballet demonstrated him as one in every of America's nice ballet masters. but if Jerome Robbins, n? Rabinowitz, died on the age of seventy-nine in 1998, he was once a haunted guy. All of his lifestyles, he had struggled with demons: his bisexuality, his Judaism, his usually sour courting together with his mom and dad, his betrayals of others in the course of the McCarthy hearings, and his perfectionism that bordered at the sadistic. He was once enjoyed and hated in equivalent elements; and in basic terms now, during this groundbreaking biography by way of insider Greg Lawrence, established upon years of analysis and dozens of interviews with Robbins's kinfolk, buddies, and co-workers, can the complete degree of either the artist and the fellow be taken. it's a interesting portrait of sunshine and dark-like its topic, a piece wealthy in complexity.
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Additional info for Dance with Demons: The Life of Jerome Robbins
Example text
During the decade, much of the modern dance movement was politicized on the left and located in the downtown neighborhoods, along with the union halls, workers’ cafeterias and bookstores. There were rallies, dances and benefit concerts to support a wide range of causes from the labor movement to civil rights. With its appeal to social conscience and worldly concerns, this was an area that would attract Sonia before it would her brother, though both would eventually be drawn into the political fray.
We needed two boys and two girls. We selected Jerry Robbins and Johnny Kriza. The girls we chose were Muriel Bentley and Alicia Alonso. . I knew right away that these four were going to emerge as particularly important in the history of American ballet. Of course, I was absolutely right.
If he couldn’t get what he wanted, he was murder. He got disgusted with me because I didn’t see it as the end of the world and I wouldn’t rehearse as much as he wanted to. ” Tamiment led Robbins back to Broadway in the fall of 1939 with a musical entitled Straw Hat Revue, which featured the soon-to-be-famous Danny Kaye and Imogene Coca. The show had originated from sketches that were performed at the camp during that summer. Liebman arranged a backers’ audition and managed to sell the idea to the Shuberts by not including any politically controversial or ethnic material in the show.