Ella
facts, crazy facts, anything basically
Answer
Jerome Robbins (October 11, 1918 - July 29, 1998) was an American Academy Award winning film director and choreographer whose work has included everything from classical ballet to contemporary musical theater. Among the numerous stage productions he worked on were On the Town, 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 born Jerome Wilson Rabinowitz, on October 11, 1918, exactly one month before the end of World War I, in the Jewish Maternity Hospital in the heart of Manhattanâs Lower East Side â a neighborhood populated by many immigrants. The Rabinowitz family lived in a large apartment house at 51 East 97th at the northeast corner of Madison Avenue. Known as "Jerry" to his loved ones, Robbins was given a middle name that reflected his parents' patriotic enthusiasm for the then-president. Rabinowitz, however, translates to âson of a rabbiâ, a name Robbins never liked, since it marked him as the son of an immigrant.
In the early 1920s, the Rabinowitz family moved to Weehawken, New Jersey. 10 years earlier, Fred and Adele Astaire had lived there briefly as children, only a block away from one of Robbinsâ boyhood homes. His father and uncle opened the âComfort Corset Company,â a unique venture for the family, which had many show business connections, including vaudeville performers and theater owners.
Robbins began college studying chemistry at New York University (NYU) but dropped out after a year for financial reasons and to pursue dance. He studied at the New Dance League, learning ballet with Ella Daganova, Antony Tudor and Eugene Loring; modern dance; Spanish dancing with the famed Helen Veola; folk dance with Yeichi Nimura; and dance composition with Bessie Schoenberg.
By 1939, Robbins was dancing in the chorus of such Broadway shows as Great Lady, The Straw Hat Revue and Keep off the Grass, which George Balanchine choreographed. Robbins was also dancing and choreographing at Camp Tamiment in the Poconos of Pennsylvania. Here he choreographed many dramatic pieces with controversial ideas about race, lynching, and war. But in 1940, he turned his back (albeit temporarily) on the theater and joined the Ballet Theatre (later known as the American Ballet Theatre). From 1941 through 1944, Robbins was a soloist with the company, gaining notice for his Hermes in Helen of Troy, the Moor in Petrouchka and Benvolio in Romeo and Juliet.
At this time, Broadway dance was changing. Agnes de Mille had brought not just ballet to Oklahoma! but had also made dance an integral part of the drama of the musical. Challenged, Robbins choreographed and performed in Fancy Free, a ballet about sailors at liberty, at the Metropolitan Opera as part of the Ballet Theatre season in 1944. The inspiration for Fancy Free came from Paul Cadmus' 1934 painting called The Fleet's In![1] which is part of the Sailor Trilogy. Robbins was recommended for a ballet based on the art work by his friend Mary Hunter Wolf. Distancing himself from the controversial homosexual content, 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."
He went on to say
"I wanted to show that the boys in the service are healthy, vital boys: there is nothing sordid or morbid about them".
Oliver Smith, set designer and collaborator on Fancy Free, knew Leonard Bernstein and eventually Robbins and Bernstein met to work on the music. This would be the first of several collaborative efforts. Fancy Free was a great success.
Later that year, Robbins conceived and choreographed On the Town (1944), a musical partly inspired by Fancy Free, which effectively launched his Broadway career. Once again 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. His next musical was Billion Dollar Baby (1945). Two years later, he received plaudits for his hilarious Keystone Kops ballet in High Button Shoes (1947).
During the 1950's period, Robbins continued to create dances for the Ballet Theatre, alternating between musicals and ballet for the better part of the next two decades. Barely a year went by without a new Robbins ballet and a new Robbins musical. With George Balanchine he choreographed Jones Beach at the City Center Theater in 1950, and directed and choreographed Irving Berlin's Call Me Madam, starring Ethel Merman.
In 1951, Robbins created the now-celebrated dance sequences in Rodgers and Hammerstein's The King & I (including the March of the Siamese Children, the ballet The Small House of Uncle Thomas and the "Shall We Dance?" polka between the two leads). That same year, he created The Cage for the New York City Ballet, with which he was now associated. He also performed, uncredited, show doctoring on the musicals A Tree Grows in Brooklyn (1951); Wish You Were Here (1952); and Wonderful Town (1953).
Robbins collaborated with George Abbott on The Pajama Game (1954), which launched the career of Shirley MacLaine, worked on the 1955 Mary Martin vehicle, Peter Pan (recreated for the small screen in 1955, 1956 and 1960) and directed and co-choreographed (with Bob Fosse) Bells Are Ringing (1956), starring Judy Holliday. In 1957, he conceived, choreographed and directed a show that some feel is his crowning achievement: West Side Story.
West Side Story is a modern-day (for 1957) version of Romeo and Juliet, set in Hell's Kitchen. The musical marked the first collaboration between Robbins and Stephen Sondheim, who wrote the lyrics. The two, along with book writer Arthur Laurents and composer Leonard Bernstein, worked well together, only disagreeing on minor issues such as whether the lead character Maria should die. 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. The original Broadway production featured Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita. 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, and is now hailed as a groundbreaking classic.
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.
While Robbins' career seemed to be a charmed one, it was not without a period of difficulty. In the early 1950s, he was called to testify before the House Committee on Un-American Activities (HUAC), suspected of Communist sympathies. Robbins named names along with Sterling Hayden, Burl Ives, Elia Kazan and Lela Rogers (mother of Ginger Rogers). Because he cooperated with HUAC, Robbins' career did not visibly suffer and he was not blacklisted. Robbins named more names than any other HUAC witness. However, he suffered remorse throughout his life about his betrayal of onetime friends.
In 1962, Robbins tried his hand at a straight play, directing Arthur Kopit's unconventional Oh Dad, Poor Dad, Mama'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 smashes. 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 beautifully 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 matching 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 musical. The plot, about Jews living in Russia near the beginning of the 20th century, is based on the stories of Sholom Aleichem. The subject matter allowed Robbins to return to his religious roots.
Never deserting the ballet, 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 (198). 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' 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. For his efforts, he earned a fifth Tony Award.
Jerome Robbins (October 11, 1918 - July 29, 1998) was an American Academy Award winning film director and choreographer whose work has included everything from classical ballet to contemporary musical theater. Among the numerous stage productions he worked on were On the Town, 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 born Jerome Wilson Rabinowitz, on October 11, 1918, exactly one month before the end of World War I, in the Jewish Maternity Hospital in the heart of Manhattanâs Lower East Side â a neighborhood populated by many immigrants. The Rabinowitz family lived in a large apartment house at 51 East 97th at the northeast corner of Madison Avenue. Known as "Jerry" to his loved ones, Robbins was given a middle name that reflected his parents' patriotic enthusiasm for the then-president. Rabinowitz, however, translates to âson of a rabbiâ, a name Robbins never liked, since it marked him as the son of an immigrant.
In the early 1920s, the Rabinowitz family moved to Weehawken, New Jersey. 10 years earlier, Fred and Adele Astaire had lived there briefly as children, only a block away from one of Robbinsâ boyhood homes. His father and uncle opened the âComfort Corset Company,â a unique venture for the family, which had many show business connections, including vaudeville performers and theater owners.
Robbins began college studying chemistry at New York University (NYU) but dropped out after a year for financial reasons and to pursue dance. He studied at the New Dance League, learning ballet with Ella Daganova, Antony Tudor and Eugene Loring; modern dance; Spanish dancing with the famed Helen Veola; folk dance with Yeichi Nimura; and dance composition with Bessie Schoenberg.
By 1939, Robbins was dancing in the chorus of such Broadway shows as Great Lady, The Straw Hat Revue and Keep off the Grass, which George Balanchine choreographed. Robbins was also dancing and choreographing at Camp Tamiment in the Poconos of Pennsylvania. Here he choreographed many dramatic pieces with controversial ideas about race, lynching, and war. But in 1940, he turned his back (albeit temporarily) on the theater and joined the Ballet Theatre (later known as the American Ballet Theatre). From 1941 through 1944, Robbins was a soloist with the company, gaining notice for his Hermes in Helen of Troy, the Moor in Petrouchka and Benvolio in Romeo and Juliet.
At this time, Broadway dance was changing. Agnes de Mille had brought not just ballet to Oklahoma! but had also made dance an integral part of the drama of the musical. Challenged, Robbins choreographed and performed in Fancy Free, a ballet about sailors at liberty, at the Metropolitan Opera as part of the Ballet Theatre season in 1944. The inspiration for Fancy Free came from Paul Cadmus' 1934 painting called The Fleet's In![1] which is part of the Sailor Trilogy. Robbins was recommended for a ballet based on the art work by his friend Mary Hunter Wolf. Distancing himself from the controversial homosexual content, 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."
He went on to say
"I wanted to show that the boys in the service are healthy, vital boys: there is nothing sordid or morbid about them".
Oliver Smith, set designer and collaborator on Fancy Free, knew Leonard Bernstein and eventually Robbins and Bernstein met to work on the music. This would be the first of several collaborative efforts. Fancy Free was a great success.
Later that year, Robbins conceived and choreographed On the Town (1944), a musical partly inspired by Fancy Free, which effectively launched his Broadway career. Once again 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. His next musical was Billion Dollar Baby (1945). Two years later, he received plaudits for his hilarious Keystone Kops ballet in High Button Shoes (1947).
During the 1950's period, Robbins continued to create dances for the Ballet Theatre, alternating between musicals and ballet for the better part of the next two decades. Barely a year went by without a new Robbins ballet and a new Robbins musical. With George Balanchine he choreographed Jones Beach at the City Center Theater in 1950, and directed and choreographed Irving Berlin's Call Me Madam, starring Ethel Merman.
In 1951, Robbins created the now-celebrated dance sequences in Rodgers and Hammerstein's The King & I (including the March of the Siamese Children, the ballet The Small House of Uncle Thomas and the "Shall We Dance?" polka between the two leads). That same year, he created The Cage for the New York City Ballet, with which he was now associated. He also performed, uncredited, show doctoring on the musicals A Tree Grows in Brooklyn (1951); Wish You Were Here (1952); and Wonderful Town (1953).
Robbins collaborated with George Abbott on The Pajama Game (1954), which launched the career of Shirley MacLaine, worked on the 1955 Mary Martin vehicle, Peter Pan (recreated for the small screen in 1955, 1956 and 1960) and directed and co-choreographed (with Bob Fosse) Bells Are Ringing (1956), starring Judy Holliday. In 1957, he conceived, choreographed and directed a show that some feel is his crowning achievement: West Side Story.
West Side Story is a modern-day (for 1957) version of Romeo and Juliet, set in Hell's Kitchen. The musical marked the first collaboration between Robbins and Stephen Sondheim, who wrote the lyrics. The two, along with book writer Arthur Laurents and composer Leonard Bernstein, worked well together, only disagreeing on minor issues such as whether the lead character Maria should die. 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. The original Broadway production featured Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita. 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, and is now hailed as a groundbreaking classic.
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.
While Robbins' career seemed to be a charmed one, it was not without a period of difficulty. In the early 1950s, he was called to testify before the House Committee on Un-American Activities (HUAC), suspected of Communist sympathies. Robbins named names along with Sterling Hayden, Burl Ives, Elia Kazan and Lela Rogers (mother of Ginger Rogers). Because he cooperated with HUAC, Robbins' career did not visibly suffer and he was not blacklisted. Robbins named more names than any other HUAC witness. However, he suffered remorse throughout his life about his betrayal of onetime friends.
In 1962, Robbins tried his hand at a straight play, directing Arthur Kopit's unconventional Oh Dad, Poor Dad, Mama'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 smashes. 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 beautifully 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 matching 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 musical. The plot, about Jews living in Russia near the beginning of the 20th century, is based on the stories of Sholom Aleichem. The subject matter allowed Robbins to return to his religious roots.
Never deserting the ballet, 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 (198). 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' 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. For his efforts, he earned a fifth Tony Award.
Brisbane Vs Canberra for a family?
Shipra
Hi All
I am a full time mum. We have a young family - me, my husband and a 5yr old daughter. We are well settled in the northside in Brisbane.
We really like the city and the weather (though it can get a little too humid at times). IMO it also has the right blend of business pace, family activities and night life to keep us interested. I can see myself brininging up my young daughter here for sure.
Amongst all this, my husband has been offered a very lucrative role to move to Canberra. Professionally and financially, it will definitely be very rewarding for us as it will be working closely with the public sector.
However, everything I have heard about Canberra (not having visited the place myself) has been negative - cold weather, 'dead' lifestyle etc. I am looking at honest comments and positive aspects of the Canberra lifestyle that I should keep in mind before I make my mind to move. The cold weather is definitely a negative to strat with.
HELP!!!
Answer
I think people need to understand Canberra is an alpine city, and it will be cold in winter. We are nestled in among the mountains, and from some parts of the city you can see snow-capped peaks at the right time of year.
Please be aware it is not just another Aussie city in this sense, while summers are beautiful, like anywhere in Australia, winters will be cold, but the reason people complain about this so much, is because they come unprepared for a Canberra winter. Think of it like going to Queenstown in New Zealand, buy beautiful scarves, jackets, jerseys, boots, find a place that's well insulated, with good heating and winter won't bother you. Plus, being in among the mountains means we're really really close to the ski resorts. Winters are often really sunny too, with crisp clear mornings, rather than just weeks of drizzle on end, and there's an outdoor ice skating rink in the middle of town during winter. But yeah, don't think of it as a beach town with and awful winter, but more of a mountain town, that has a really awesome summer. Summers are not humid here at all, its a lovely dry heat.
On the other topic, a lot of people think Canberra is dead because they don't understand how it is set up. The city doesn't have one CBD, more like five of them, so all the activity is kind of split up and scattered across town. So most people head into civic, which is the biggest business district, and find that it's not full of activity everywhere. But what you do find is small suburbs will have a little shopping district with 2 awesome bars and 3 or 4 top restaurants, and that some of the really neat stuff is just going on somewhere else.
Also there is pretty much always some sort of family-friendly festival on, lots of them are free, I think the thing is, you just need to know where to look and you need to know what's on.
Getting around is incredibly easy here, the roads are great, don't worry about roundabouts, they're like everywhere else, but there is one bitch of a roundabout around Parliament that confuses the hell out of everyone (Capital Circle) but there's another ring road around it (State Circle) which makes much more sense.
You'll probably want to think about what kind of things you want to do in town. People here can stick to their own a bit, so joining clubs, walking groups, community groups and such can make you feel at home a whole lot quicker. If your hubby's in the Public Service you'll probably have a crowd to invite to bbqs almost immediately, but they might not be the sort you'd invite if you were in Brissie. In terms of nightlife, bars and dining are top notch. Theatre, and live entertainment is OK, but there's usually only one awesome stage show, two awesome comedians and one or two awesome international concerts each year. So it's sufficient, but not on par with the cities with more than a million people. We got Avenue Q but not Wicked, Jersey Boys or Mary Poppins. We had Arj Barker, Rhys Darby, Lady GaGa, John Butler Trio. Cirque du soleil has only visited once, so as I say, alright, but hey, Sydney's not far away.
We have the Raiders and the Brumbies, so you'll be able to see a live game with the Reds and the Broncos.
If you like gardening, it's very english, because mangos, bananas, frangipanis will die in winter.
Very few of us are politicians.
If you like golf, you'll be in heaven.
The lake is dirty, but plenty of fun, the yacht club hires out little boats.
The place is also really safe, especially around the inner south (just south of the lake and parliament) Actually, probably the best part of town to live.
I moved here from Perth 2 years ago, Perth is awesome, but I love it here just as much, even without a beach. The city is designed for quality living, but it's often tough on tourists.
I think people need to understand Canberra is an alpine city, and it will be cold in winter. We are nestled in among the mountains, and from some parts of the city you can see snow-capped peaks at the right time of year.
Please be aware it is not just another Aussie city in this sense, while summers are beautiful, like anywhere in Australia, winters will be cold, but the reason people complain about this so much, is because they come unprepared for a Canberra winter. Think of it like going to Queenstown in New Zealand, buy beautiful scarves, jackets, jerseys, boots, find a place that's well insulated, with good heating and winter won't bother you. Plus, being in among the mountains means we're really really close to the ski resorts. Winters are often really sunny too, with crisp clear mornings, rather than just weeks of drizzle on end, and there's an outdoor ice skating rink in the middle of town during winter. But yeah, don't think of it as a beach town with and awful winter, but more of a mountain town, that has a really awesome summer. Summers are not humid here at all, its a lovely dry heat.
On the other topic, a lot of people think Canberra is dead because they don't understand how it is set up. The city doesn't have one CBD, more like five of them, so all the activity is kind of split up and scattered across town. So most people head into civic, which is the biggest business district, and find that it's not full of activity everywhere. But what you do find is small suburbs will have a little shopping district with 2 awesome bars and 3 or 4 top restaurants, and that some of the really neat stuff is just going on somewhere else.
Also there is pretty much always some sort of family-friendly festival on, lots of them are free, I think the thing is, you just need to know where to look and you need to know what's on.
Getting around is incredibly easy here, the roads are great, don't worry about roundabouts, they're like everywhere else, but there is one bitch of a roundabout around Parliament that confuses the hell out of everyone (Capital Circle) but there's another ring road around it (State Circle) which makes much more sense.
You'll probably want to think about what kind of things you want to do in town. People here can stick to their own a bit, so joining clubs, walking groups, community groups and such can make you feel at home a whole lot quicker. If your hubby's in the Public Service you'll probably have a crowd to invite to bbqs almost immediately, but they might not be the sort you'd invite if you were in Brissie. In terms of nightlife, bars and dining are top notch. Theatre, and live entertainment is OK, but there's usually only one awesome stage show, two awesome comedians and one or two awesome international concerts each year. So it's sufficient, but not on par with the cities with more than a million people. We got Avenue Q but not Wicked, Jersey Boys or Mary Poppins. We had Arj Barker, Rhys Darby, Lady GaGa, John Butler Trio. Cirque du soleil has only visited once, so as I say, alright, but hey, Sydney's not far away.
We have the Raiders and the Brumbies, so you'll be able to see a live game with the Reds and the Broncos.
If you like gardening, it's very english, because mangos, bananas, frangipanis will die in winter.
Very few of us are politicians.
If you like golf, you'll be in heaven.
The lake is dirty, but plenty of fun, the yacht club hires out little boats.
The place is also really safe, especially around the inner south (just south of the lake and parliament) Actually, probably the best part of town to live.
I moved here from Perth 2 years ago, Perth is awesome, but I love it here just as much, even without a beach. The city is designed for quality living, but it's often tough on tourists.
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