Jerome Robbins Papers

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id: 3172
origination: Robbins, Jerome
date statement: 1930-2001 [bulk 1940-1998]
key date: 1930
identifier (local_mss): 19771
org unit: Jerome Robbins Dance Division
call number: *MGZMD 130
b-number: b15096591
total components: 7362
total series: 11
max depth: 7
boost queries: (none)
component layout: Default Layout
Extended MARC Fields: false
Extended Navigation: false
created: 2013-04-01 15:04:41 UTC
updated: 2026-08-15 02:15:39 UTC
status note: (missing)
Display Aeon link: true

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unitid: {"value"=>"*MGZMD 130", "type"=>"local_call"}

{"value"=>"19771", "type"=>"local_mss"}
unitdate: {"value"=>"1930-2001", "type"=>"inclusive", "normal"=>"1930/2001"}

{"value"=>"1940-1998", "type"=>"bulk", "normal"=>"1940/1998"}
unittitle: {"value"=>"Jerome Robbins Papers"}
physdesc: {"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"241 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"578 boxes", "unit"=>"containers"}]}
repository: {"value"=>"The New York Public Library. Jerome Robbins Dance Division.<div class=\"address\"> New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center 40 Lincoln Center Plaza, New York, NY 10023-7498</div>"}
abstract: {"value"=>"Work files from the office of American dancer, choreographer and director Jerome Robbins."}
langmaterial: {"value"=>"English"}
prefercite: {"value"=>"Jerome Robbins Papers, *MGZMD 130. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts"}
origination: {"value"=>"Robbins, Jerome", "type"=>"persname"}
bioghist: {"value"=>"Jerome Robbins (born 11 October 1918 in New York City) was the younger of two children of Harry Rabinowitz, who emigrated to America from Poland in 1904, and his wife Lena Rips. Rabinowitz was at first a shopkeeper with a delicatessen on the Upper East Side of Manhattan; in the 1920’s he moved the family to Jersey City and then to Weehawken, New Jersey, where he and a brother-in-law established the Comfort Corset Company. Young Jerome, who showed an early aptitude for music, dancing, and theatrics, attended schools in Weehawken and graduated from Woodrow Wilson High School in 1935. Intending to study either chemistry or journalism, he matriculated at New York University in the autumn of 1935; but the Depression took a turn for the worse in 1936 and his family could no longer support his education -- especially considering that he was, by his own account, failing two courses (math and French) out of five. Unwilling to work in the corset factory, he tried to find employment in some form of show business; and through his sister Sonia, who had already danced professionally with Irma Duncan and Senya Gluck-Sandor’s Dance Center, he got an apprenticeship with Sandor’s company. Gluck-Sandor was a hybrid as a choreographer -- ballet-trained, dedicated to modern dance, but also a veteran of Broadway, burlesque, and vaudeville -- and his expressive, theatrical style attracted Robbins from the outset. But the fledgling dancer -- who like other members of his family took the surname of Robbins for work in the theater -- also studied ballet with Ella Daganova and in 1937 appeared in the Yiddish Art Theatre production of The Brothers Ashkenazi, directed by and starring Maurice Schwartz, for which Sandor did the choreography. 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. His work from this period consisted mainly of burlesque-like blackout sketches on the one hand and dramatic works with strong social content, like Death of a Loyalist or Strange Fruit, (set to Abel Meeropol’s song about a lynching) on the other. But he was beginning to gain an audience: some of his dances were performed under the auspices of the Theatre Arts Committee at New York’s 92nd Street YMHA and others as part of The Straw Hat Revue, which Tamiment producer Max Liebman opened on Broadway in 1939 Robbins spent three summers at Tamiment and taking on one-shot roles in ballet performances at Jones Beach, the New York World’s Fair, and elsewhere; he found work during the regular theater season in the Broadway choruses of Great Lady (1938), Stars in Your Eyes (1939), and Keep Off the Grass (1940) -- the last-named choreographed by George Balanchine. In the summer of 1940 he was accepted into the recently-formed Ballet Theatre, where he soon advanced from the corps de ballet to solo roles which showed off the taut fluidity with which he compensated for his lack of heroic classical technique: the Young Man in Agnes De Mille’s Three Virgins and a Devil, an apple-munching Hermes in Helen of Troy, and -- the role which made him famous -- the tragic puppet in Petroushka. He had been burning to choreograph a ballet himself for the company, preferably one with an American theme, to American music; but all his ideas were too grandiose for the perennially strapped company to consider. Encouraged to \"think small\" he came up with the idea for a ballet about three sailors on shore leave in New York City. To write the score he sought out the services of a young unknown composer named Leonard Bernstein, and Ballet Theatre’s Oliver Smith agreed to design the scenery. On April 18, 1944, Fancy Free premiered at the Metropolitan Opera House to a raucous two dozen curtain calls; and in December of that year On the Town, a musical comedy based on the ballet, with music by Bernstein, dances by Robbins, sets by Smith (who also produced), and book and lyrics by a pair of Bernstein’s cabaret buddies named Betty Comden and Adolph Green, had a fairy-tale opening on Broadway. From that moment until his death more than fifty years later Robbins’s primacy on Broadway and in ballet was assured; but he did more than reach the top in his two spheres of influence. He changed each of his worlds from the inside out. On Broadway he quickly established himself as the choreographer of the moment at a time when musical comedies were evolving out of the stylish but contentless song-and-dance anthologies that had showcased the talents of the Gershwins and Cole Porter and Rodgers and Hart. Robbins shows -- and as he began to direct as well as create ideas and dances for them, they truly were Robbins shows -- had, or aimed to have, a story, characters, a point. So the Roaring Twenties musical, Billion Dollar Baby (1946 -- with book and lyrics by Comden and Green and music by Morton Gould), revolved around a gold-digging bathing beauty who serially married for money; 1947's High Button Shoes (his first collaboration with composer Jule Styne) was a nostalgic romp set in New Jersey in 1913 and featuring a Keystone Kops ballet. And 1948’s Look, Ma, I’m Dancin’ (which he co-directed with George Abbot, and for which he received the credit \"conceived by Jerome Robbins\") was the autobiographical backstage story of a super-ambitious dancer-choreographer’s collision with the brewery heiress backing his ballet company; his changed character is mirrored in the two ballets he creates -- the first a brash, over-complicated expression of youthful hubris, the second altogether subtler, more thoughtful and human. Look, Ma was succeeded by one of Robbins’s rare flops, a show called That’s the Ticket (1948), which Robbins directed but did not choreograph. An overly whimsical mishmash, it closed in Philadelphia after ten days. But at this point Robbins made a life altering career-change. At Ballet Theater he had followed Fancy Free with a series of dances that integrated the classic vocabulary with modern subject matter: among them the be-bop ballet Interplay (1945) and Facsimile (1946), an angst-ridden exploration of a love triangle with a new score by Bernstein. But in 1949 he left Ballet Theater to join George Balanchine’s new-born New York City Ballet, where he was almost immediately named Associate Artistic Director. He danced numerous quasi-dramatic roles for Balanchine -- including Prodigal Son, Tyl Eulenspiegel and as a principal opposite the glamorous Tanaquil Le Clercq in Bourrée Fantasque -- before retiring from performance in the mid 1950’s; but it was as a choreographer that he made his mark. Ballets like The Guests (1949, score by Marc Blitzstein), Age of Anxiety (1950, to Bernstein), and the terrifying fable The Cage (1951, to Stravinsky), showcased his flair for drama, his all-American sass and energy, and his affinity for modern music. And his association with Balanchine gave him a security and sense of kinship that nourished his genius. Robbins continued to work on Broadway, as the choreographer of two Irving Berlin shows, Miss Liberty (1949) and Call Me Madam (1950), Rodgers and Hammerstein’s The King and I (1951), and Two’s Company (1952), a revue starring Bette Davis. But in 1953 he stunned the theatrical community, if not the world at large, by appearing before the House Un-American Activities Committee, where he admitted to membership in the Communist Party during the 1930’s and named eight individuals who he said had also been members. His testimony was denounced by many (including some of his family) for whom McCarthyism was only steps from Nazism, but Robbins refused to justify or explain himself beyond his public statement that he had \"made a great mistake... in entering the Communist Party.\" His decision haunted him, however, and ultimately he placed it at the center of an autobiographical drama, The Poppa Piece, which he experimented with in workshops during the early 1990’s. Ironically, his career seemed to take on added luster in this troubled time. He staged the All-American Ford 50th Anniversary Show (1953) for television with Ethel Merman and Mary Martin; co-directed The Pajama Game (1954) on Broadway; conceived, directed, and choreographed Peter Pan (1954) starring Mary Martin; directed Aaron Copland’s opera The Tender Land (1954); directed and co-choreographed Bells Are Ringing (1956) starring Judy Holliday; and choreographed the film version of The King and I (1956). Meanwhile at New York City Ballet he created two masterpieces, the lyrical Afternoon of a Faun (1953) and the hilarious send-up, The Concert (1956), among other works. In 1957 he teamed up once again with Leonard Bernstein on a musical he had been discussing with him and playwright Arthur Laurents for some years: West Side Story, a retelling of Romeo and Juliet set against a background of gang warfare in New York’s Puerto Rican ghetto. Directed by Robbins, with his electrifying street-smart choreography integrated into the action, West Side Story was arguably the first \"concept musical\"; it broke the mold of the Broadway show and also established Robbins’s reputation as a perfectionistic, difficult taskmaster -- a reputation that was one factor in his dismissal as director of the 1961 film version. He won an Academy Award for his direction nonetheless -- sharing the Oscar with co-director Robert Wise -- as well as one for choreography. After West Side Story Robbins left New York City Ballet for a time and formed his own company, Ballets: USA, to appear at the Festival of Two Worlds in Spoleto, Italy. For it he made the explosive New York Export: Opus Jazz (1958), a ballet without music called Moves (1959), and other works; the company toured extensively in Europe but -- despite enthusiastic notices and even an appearance at the Kennedy White House -- it failed to find an ongoing audience in the United States and was disbanded in 1961. In the meantime Robbins had also directed the ultimate backstage musical, Gypsy (1959) with Ethel Merman, and now he began to branch out into non-musical theater. In 1962 he directed the American premiere of Arthur Kopit’s mordant mother-son comedy, Oh, Dad, Poor Dad, Mama’s Hung You In the Closet and I’m Feelin’ So Sad and in 1963 a production of Brecht’s Mother Courage and Her Children starring Anne Bancroft. Two Broadway hits followed -- both shows he had originally agreed to direct, then withdrew from, and finally returned to when each seemed in danger of shipwreck during out-of-town tryouts. But although reviews for A Funny Thing Happened on the Way to the Forum (1962) didn’t mention his name, and although for Funny Girl (1964) he was listed only as \"production supervisor,\" he reshaped both those musicals radically. He got full credit and then some, however, for Fiddler on the Roof (1964), the musical setting of Sholem Aleichem stories which he choreographed and directed, bringing to life as an organic musical whole the lost world of the Russian shtetl. He accomplished a similar feat with his mammoth staging of Stravinsky’s Les Noces (1965) for American Ballet Theatre, but then retreated from the pressures of huge collaborative productions. Broadway was moving in the direction of rock spectacles like Hair and Jesus Christ, Superstar, and Robbins didn’t want to move with it. With the help of a 1966 grant from the National Endowment for the Humanities, he established the American Theatre Lab to explore experimental music-theater techniques, from dance to Noh drama, with a small handpicked company in a workshop setting for a period of two years. Seemingly re-charged from this work, he re-emerged at City Ballet with Dances at a Gathering (1969), a poignant and playful celebration of youth and love which was widely hailed as a masterpiece. There followed a fertile creative period in which Robbins made such vastly different works as the moonlit, expressive In the Night (1970), The Goldberg Variations (1971), which explored Bach’s thematic geometry, and Watermill (1972), a Noh-like meditation on the passage of a man’s life. In addition he collaborated with Balanchine, with whom he now shared the title of Ballet Master, on dances for Firebird (1970) and Pulcinella (1972) -- a demonstration of the collegiality and mutual respect that had always marked their relationship. As Balanchine once said to him, speaking of the legendary Russian ballet master Marius Petipa: \"Very few people can do. Petipa, you, me -- we can do.\" Robbins never really left City Ballet again, except for a leave of absence in 1989 and forays into the theater for workshops of an adaptation of Brecht’s The Exception and the Rule (1987) and of The Poppa Piece (1991), and the triumphant staging of his anthology show, Jerome Robbins’ Broadway (1989), for which he won his fifth Tony Award. Increasingly his work seemed to move in a more and more abstract direction, away from the character-driven dances of his youth -- a process reflected in the changes he made in his last collaboration with Bernstein. Premiered as Dybbuk (1974) and based on the S. Anski play, it was first revised as The Dybbuk Variations (1974) and then as A Suite of Dances (1980), a ballet-in-progress which Robbins kept trying to reduce to its essence. Essence did not mean homogeneity, however: Robbins’s work was still as protean as ever, from the sensuous and jazzy lyricism of In G Major (1975) and the opera-house pyrotechnics of Four Seasons (1979) to the spiky Opus 19: The Dreamer (1979) and the elegiac In Memory of... (1985). He was still experimenting with contemporary music, with ballets to Philip Glass (Glass Pieces, 1983) and Steve Reich (Octet, 1985), but it was Bach who spoke most clearly to him in his last decade, when he made the spare, poetic A Suite of Dances (1994) for Mikhail Baryshnikov to Bach’s suites for unaccompanied cello; the deceptively simple Two- and Three-Part Inventions (1994) for the students of the School of American Ballet, and the exuberant Brandenburg (1997) for City Ballet. By then he was in fragile health, 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 poor; yet he insisted on staging Les Noces for City Ballet (1998). It was the last thing he did; two months later he suffered a massive stroke, and he died at his home in New York on July 29, 1998. Robbins had already been made Chevalier of the French Legion of Honor, and had won 5 Donaldson Awards, 5 Tony Awards, 2 Academy Awards, 1 Emmy Award, the Kennedy Center Honors, and numerous other prizes; on the evening of his death, the lights of Broadway were dimmed for a moment in tribute. In the more than sixty years in which he had been active in the theater, he had transformed it because he never stopped asking questions. \"Why can’t we do ballets about our own subjects, meaning our life here in America?\" he asked before making Fancy Free. And, speaking of the collaboration that made West Side Story, \"Why couldn’t we, in aspiration, try to bring our deepest talents together to the commercial theater?\" His own work answered both questions in the affirmative. ©2001 by Amanda Vaill This article first appeared in Scribner's Encyclopedia of American Lives."}
scopecontent: {"value"=>" Papers include correspondence, scripts, productions materials, scores, and financial information on Robbins theatrical productions, ballets, films, and television work including Bells are Ringing, Fiddler on the Roof, Funny Girl, Gypsy, Jerome Robbins' Broadway, The King and I, Mother Courage and her Children, Oh, Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' so Sad, On the Town, Peter Pan, West Side Story, the Ford 50th Anniversary Television Show, and others. Also includes materials on some unproduced projects including, Exception and the Rule, The Office, and his autobiographical work Poppa Piece. Includes correspondence and working files for Robbins' work with the dance companies Ballets: U.S.A., American Ballet Theatre, and the New York City Ballet and others, the Festival of Two Worlds (Spoleto, Italy), the experimental American Theatre Laboratory, the Jerome Robbins Foundation, ann his personal properties."}

{"value"=>"The Jerome Robbins Papers are arranged in eleven series:\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/dan/19771#c371385'>Series I: Theatrical Productions</a></div>\n<div class='series-date'>1944-2000, undated</div>\n<div class='series-description'>This series consists of Jerome Robbins’ theatrical productions and includes his work as choreographer, director, and, even, uncredited show doctor. The series ranges from Robbins’ first show, On the Town, to his last Broadway effort, Jerome Robbins’ Broadway. Included for many shows are correspondence, scripts, contracts, production and financial materials, clippings, and scores. Particularly rich in this material are West Side Story, Fiddler on the Roof, and Jerome Robbins’ Broadway. The first two contain information from the original productions, movie versions, as well as the many revivals, touring companies, and foreign productions that were spawned. This series also contains information on Jerome Robbins’ single opera production The Tender Land and his plays, Mother Courage and Her Children and Oh Dad, Poor Dad, Momma’s Hung You in the Closet and I’m Feelin’ So Sad. A musical such as Silk Stockings is of note in the collection as it was one that Robbins’ never worked on beyond the contract negotiation stage. Included among its material is correspondence, including a letter from Cole Porter, scripts, a contract, production notes and a little financial information.</div></li><li><div class='series-title'><a href='/dan/19771#c372516'>Series II: Unproduced Theatrical Productions</a></div>\n<div class='series-date'>1930-1996, undated</div>\n<div class='series-description'>This series is mixture of productions that went through many workshops, such as Poppa Piece and The Exception and the Rule (also known as Race to Urga), a play given a full production but closed in previews, such as The Office, and many smaller shows that never went beyond the idea stage and are represented mainly by either a few notes or correspondence. Poppa Piece is the most substantial show in this series and is represented by a vast amount of notes and scenes kept in their original order showing the vast changes that went on as the piece was workshopped over the years.</div></li><li><div class='series-title'><a href='/dan/19771#c372907'>Series III: Television Productions</a></div>\n<div class='series-description'>This series consists of correspondence, scripts, contracts, production materials, and scores from the television productions, Ford 50th Anniversary Show and Live From Studio 8H: An Evening with Jerome Robbins and members of the New York City Ballet. Not included in this series are the television versions of Peter Pan. These can be found in the first series, Theatrical Productions.</div></li><li><div class='series-title'><a href='/dan/19771#c372963'>Series IV: Dance Companies</a></div>\n<div class='series-description'>This series contains correspondence, legal papers, administrative and production notes from the three companies with which Jerome Robbins was most involved: Ballets: U.S.A. and the New York City Ballet. Notably absent is information on his early work with American Ballet Theatre, which is only represented by some correspondence and later contracts. The series also consists of correspondence from various ballet companies from all parts of the world. This series is more representative of the administrative work of dance companies rather than the creative. Absent from this series are any choreographic notes or annotated scores from his work. When specific shows are noted, such as In the Night under New York City Ballet, the material contained includes correspondence, casting notes, contracts, rehearsal schedules, and a few technical notes.</div></li><li><div class='series-title'><a href='/dan/19771#c373805'>Series V: American Theatre Lab, Inc</a></div>\n<div class='series-description'>This series contains the records of the American Theatre Lab, Inc. Jerome Robbins established it in 1966 with the help of a grant from the National Endowment for the Arts. He set it up to explore music-theater techniques, including such incorporating such forms as Noh drama. Robbins was to use a workshop setting for a period of a couple of years with a small group of performers. This series represents this project, both the artistic side, in the Projects sub-series, and the administrative side. The series continues after the American Theatre Lab, Inc. ended as an ongoing workshop as it documents such events as the renting of the original space.</div></li><li><div class='series-title'><a href='/dan/19771#c375011'>Series VI: Jerome Robbins Foundation</a></div>\n<div class='series-date'>1957-1994, undated</div>\n<div class='series-description'>This series contains all the papers relating to the Lena Robbins Foundation, named after Jerome Robbins mother, and, after 1970, the Jerome Robbins Foundation. The foundation was set up in 1957 to aid in performers and performance pieces in dance, theater, and associative art forms. After the outbreak of AIDS, the fund was directed towards assisting those in need during this crisis also. This series demonstrates clearly both the running of this foundation and the organizations that received grants.</div></li><li><div class='series-title'><a href='/dan/19771#c375421'>Series VII: Financial</a></div>\n<div class='series-date'>1950-1998, undated</div>\n<div class='series-description'>This series is a very thorough look at Jerome Robbins’ business dealings and financial records from 1950 until the time of this death. It includes correspondence with accountants, account ledgers, bank statements, check stub logs, contributions/donations, office deposits, employee records, office expenditures, Christmas gift list, insurance policy payments, loans, maintenance services, medical bills, paid bills, petty cash receipts, property purchase, receipt daily diaries, rehearsal expense, royalties, sale of theater tickets, specific production financial records, statements of account, stocks, travel expenses, and personal expenditures. The stock portfolios are particularly extensive. Notably missing are his personal tax records.</div></li><li><div class='series-title'><a href='/dan/19771#c376542'>Series VIII: Properties</a></div>\n<div class='series-date'>1944-1999, undated</div>\n<div class='series-description'>This series consists of such information as purchase contracts, rental agreements, bills relating to the upkeep of the properties, and taxes. Included are Jerome Robbins’ two New York City homes, 74th and 81st streets, Sneeden’s Landing, his Long Island homes, particularly the ones in Bridgehampton and Watermill, his Paris apartment, and his father’s home in Weehawken and then in Hollywood, Florida.</div></li><li><div class='series-title'><a href='/dan/19771#c377225'>Series IX: Insurance</a></div>\n<div class='series-date'>1956-1999</div>\n<div class='series-description'>This series includes the contracts from Jerome Robbins’ automotive, property, medical, and personal insurance, as well as employment insurance for his employees.</div></li><li><div class='series-title'><a href='/dan/19771#c377438'>Series X: Office Files</a></div>\n<div class='series-date'>1940-2001, undated</div>\n<div class='series-description'>This series consists of Jerome Robbins’ office files relating to his business life. It should be noted that these files are strictly work related and do not cover his personal life. It is divided into the names, subjects, and office calendars.</div></li><li><div class='series-title'><a href='/dan/19771#c378742'>Series XI: Oversized Financial Records</a></div>\n<div class='series-date'>1981 - 1987</div>\n<div class='series-description'>This series consists of very detailed oversized accounting reports.</div></li></ul>\n", "type"=>"arrangement"}
arrangement: {"value"=>" <ul class=\"list\"> <li>Series I: Theatrical Productions</li> <li>Series II: Unproduced Theatrical Productions, 1930-1996 and n.d.</li> <li>Series III: Television Productions, 1953-1986 and n.d.</li> <li>Series IV: Dance Companies, 1951-1999 and n.d. <ul class=\"list\"> <li>Sub-series 1: Specific Dance Companies, 1951-1999 and n.d.</li> <li>Sub-series 2: Dance Related Events, 1963-1990</li> <li>Sub-series 3: General Ballet Administrative Papers, 1963-1998 and n.d.</li></ul></li> <li>Series V: American Theatre Lab, Inc., 1939-1991 and n.d. <ul class=\"list\"> <li>Sub-series 1: Establishment of Corporation, 1965-1971 and n.d.</li> <li>Sub-series 2: Administrative Files, 1966-1983 and n.d.</li> <li>Sub-series 3: Financial Papers, 1966-1984 and n.d.</li> <li>Sub-series 4: Correspondence, 1965-1983 and n.d.</li> <li>Sub-series 5: Casting, 1966-1974 and n.d.</li> <li>Sub-series 6: Projects, 1939-1991 and n.d.</li></ul></li> <li>Series VI: Jerome Robbins Foundation, 1957-1994 and n.d. <ul class=\"list\"> <li>Sub-series 1: Correspondence, 1958-1992 and n.d.</li> <li>Sub-series 2: Administrative Files, 1957-1991 and n.d</li> <li>Sub-series 3: Grants, 1957-1994 and n.d.</li> <li>Sub-series 4: Financial Papers, 1957-1994 and n.d.</li></ul></li> <li>Series VII: Financial, 1950-1998 and n.d.</li> <li>Series VIII: Properties, 1944-1999 and n.d.</li> <li>Series IX: Insurance, 1956-1999</li> <li>Series X: Office Files, 1937-2001 and n.d. <ul class=\"list\"> <li>Sub-series 1: Names, 1940-2001 and n.d.</li> <li>Sub-series 2: Subjects, 1937-2000 and n.d.</li> <li>Sub-series 3: Office Calendars, 1948-1998 and n.d.</li></ul></li> <li>Oversized Financial Records, 1981-1987</li></ul>", "supress_display"=>true}
acqinfo: {"value"=>"Estate of Jerome Robbins"}
processinfo: {"value"=>"Processed by Jerome Robbins Project Staff; Machine-readable finding aid created by Rick Hunter and Mary Ellen Rogan."}
accessrestrict: {"value"=>"Series II, Unproduced theatrical productions, requires permission of the Robbins Rights Trust."}
userestrict: {"value"=>"For permission to publish, contact the Curator, Jerome Robbins Dance Division. Series II, Unproduced theatrical productions, requires permission of the Robbins Rights Trust."}
note: {"value"=>"Work files from the office of American dancer, choreographer and director Jerome Robbins"}
date_start: 1930
keydate: 1930
date_end: 2001
date_inclusive_start: 1930
date_inclusive_end: 2001
date_bulk_start: 1940
date_bulk_end: 1998

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Jerome Robbins Papers

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