Jerome Robbins personal papers

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id: 3173
origination: Robbins, Jerome
date statement: 1896-2000 and undated [bulk 1931-1998, dates]
key date: (missing)
identifier (local_mss): 19855
org unit: Jerome Robbins Dance Division
call number: *MGZMD 182
b-number: b16854547
total components: 2742
total series: 8
max depth: 6
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 02:17:55 UTC
status note: (missing)
Display Aeon link: true

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unitid: {"value"=>"*MGZMD 182", "type"=>"local_call"}

{"value"=>"19855", "type"=>"local_mss"}
unitdate: {"type"=>"inclusive", "value"=>"1896-2000 and undated"}

{"type"=>"bulk", "value"=>"1931-1998, dates"}
unittitle: {"value"=>"Jerome Robbins personal papers"}
physdesc: {"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"100 linear feet", "unit"=>"linear feet"}, {"name"=>"extent", "value"=>"171 boxes", "unit"=>"containers"}], "supress_display"=>true}
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"=>"Jerome Robbins was a dancer, choreographer and director. His papers include biographical materials, production materials, subject files, financial information and scores."}
prefercite: {"value"=>"Jerome Robbins personal papers, *MGZMD 182. 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. <ul class=\"list\"> <li> ©2001 by Amanda Vaill. This article first appeared in Scribner's Encyclopedia of American Lives .</li></ul>"}
scopecontent: {"value"=>" The personal papers of Jerome Robbins (1923-2000 and undated) primarily document his life from 1931-1998 and consist of material on his careers as a dancer, producer, and choreographer in the fields of ballet, television, Broadway theater, and Hollywood films. Some of the types of items found within this collection are account ledgers, agendas, audit lists, awards, casting documents, choreographic notes, clippings, correspondence, costume information, cue sheets, general ledgers, income tax materials / payments, journals, lighting notes, notes, photographs, production materials, programs, research, scores, sketch / collage books, tour information, and writings. However, the vast majority of the collection is composed of correspondence, production materials and writings. The few items found within this collection that postdate his life are connected to the research material collected on his life. For example, clippings and photographs concerning the performances of Robbins’ ballets until the year 2000 are within this collection (see boxes 27 and 28). Within the ballet notes, biographical materials and production materials series, writings can be found in which Robbins expressed both the professional circumstances and his private feelings for individual events. Of specific interest are his journals found in boxes 21-24. From the items attributed to Sonia Robbins Cullinen, Cassandra Einstein, Jesse Gerstein, Frieda Robbins, Harry Robbins, Lena Robbins, Leonard Bernstein, and the numerous files within the Personalities series, varying perspectives of Jerome Robbins’ life and work will be ascertained."}

{"value"=>"The Jerome Robbins personal papers are arranged in eight series:\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/dan/19855#c419309'>Series I: Biographical Material</a></div>\n<div class='series-date'>1923 - 2000, undated</div>\n<div class='series-description'> The biographical materials found within the Jerome Robbins Personal Papers are grouped within two sub-series within this series. Sub-series 1 contains the biographical material collected by Robbins for his autobiographical work Poppa Piece, and sub-series 2 contains the remaining related biographical materials.</div></li><li><div class='series-title'><a href='/dan/19855#c419722'>Series II: Ballet Notes</a></div>\n<div class='series-date'>1938 - 1998, undated</div>\n<div class='series-description'> The Ballet Notes series consists of casting documents, choreographic notes, clippings, costume information, cue sheets, programs, lighting notes, photographs, scores, tour information, and research pertaining to the ballet productions danced, created and produced by Jerome Robbins. Some correspondence can be found in this series, but most can be found filed within the Personalities series. From 2x3 Part Inventions to West Side Story Suite, this series contains items which document the varied spectrum of Robbins’ creative genius in ballet. Most of his ballets are represented within this series, but the following productions are well documented: Afternoon of a Faun, Brandenburg, The Cage, The Concert, Dances at a Gathering, Dybbuk Variations, Goldberg Variations, I’m Old Fashioned, In Memory of . . ., Ives, Songs, Opus 19 / The Dreamer, Other Dances, and Piano Pieces . Of special interest is the correspondence from Leonard Bernstein and Oliver Smith relating to Fancy Free, the notebook concerning Arts of the Gentleman filed under A Sketch Book: A Work in Progress, and the notebooks created by Robbins for Watermill . Information for two unproduced ballets— The Will-O-The-Wisps and untitled—can also be found within this series.</div></li><li><div class='series-title'><a href='/dan/19855#c420402'>Series III: Production Material</a></div>\n<div class='series-date'>1939 - 1999, undated</div>\n<div class='series-description'> This series contains the casting information, choreographic material (including cue notes), clippings, scores, and research notes pertaining to the motion pictures, musicals, operas, plays, television shows and workshops danced, created and produced by Jerome Robbins. Of special interest is Leonard Bernstein’s revised score of Maria from West Side Story, the correspondence, notes and research materials for the un-produced Nijinsky motion picture project, the commemorative coins for Fiddler on the Roof, and the On the Town notes from Robbin’s meeting with Bernstein used for Jerome Robbins’ Broadway .</div></li><li><div class='series-title'><a href='/dan/19855#c420518'>Series IV: Personalities</a></div>\n<div class='series-date'>1925 - 1998, undated</div>\n<div class='series-description'> Included in this series is general correspondence, writings and varied documents from many prominent performing arts individuals, such as George Abbott, Alicia Alonso, Clive Barnes, Mikhail Baryshnikov, Todd Bolender, Lucia Chase, Aaron Copland, Oscar de la Renta, Agnes de Mille, Erté, Suzanne Farrell, Mary Rogers Guettel, Sheldon Harnick, Kitty Carlisle Hart, Kitty Hawks, Allegra Kent, Hope Kondrat, Sara Levi-Tanai, Mary Martin, Edna O’Brien, Sono Osato, Barbara Paley, Harold Prince, Chita Rivera, Anna Sokolow, Barbra Streisand, Twyla Tharp, Edward Villella, Robert Wilson, and Natalie Wood. Correspondence and other documents from several of Robbins’ close friends such as Francis Arkin, George Balanchine, Leonard Bernstein, Richard Buckle, Betty Comden, Grover Dale, Andrew De Groat, Robert DiNardo, Robert Fizdale, Arthur Gold, Adolph Green, Barrie Irwin, Howard Jeffrey, Nora Kaye, Nancy Keith, Lincoln Kirstein, Arthur Laurents, Tanaquil Le Clerq, Milton Rosenstock, Warren Sonbert, Stephen Sondheim, and Nancy Walker span several decades and is often filled with news of the performing arts world. Familial and romantic relations are revealed within the files for the Cullinen family, the Davenport family, Cassandra Einstein, Jesse Gerstein, Buzz Miller, Frieda Robbins, Harry Robbins, and Lena Robbins.</div></li><li><div class='series-title'><a href='/dan/19855#c421394'>Series V: Organizations</a></div>\n<div class='series-date'>1937 - 1999, undated</div>\n<div class='series-description'> This series contains the correspondence, clippings, programs, notes, and other materials pertaining to the organizations with which Jerome Robbins was associated with throughout his lifetime that were found within this collection. Professional organizations and associations include American Ballet Theatre, Ballet Theatre, Ballets: USA, the New York City Ballet, Opera de Paris Garnier, and the Spoleto Festival. Of interest within the New York City Ballet files is the folder entitled Ballet Ideas in which Robbins collected articles and kept notes that sparked his choreographic and directorial skills. Also of note is the information regarding the 1961 European Tour conducted by Ballets: USA under Robbins’ direction, as well as Ballet Theatre’s itineraries for 1942-1944 found within this series.</div></li><li><div class='series-title'><a href='/dan/19855#c421578'>Series VI: Personal Financial Material</a></div>\n<div class='series-date'>1940 - 1998, undated</div>\n<div class='series-description'> This series contains the account ledgers, audit list, general ledgers, income tax materials and payments found within the collection. Information on the financial impact, as connected to his varied productions can be found in this series. Of special interest is Robbins’ 1955 New York State resident status issue.</div></li><li><div class='series-title'><a href='/dan/19855#c421724'>Series VII: Scores</a></div>\n<div class='series-date'>1955 - 1987, undated</div>\n<div class='series-description'> This series contains the scores found in collection not connected with any Jerome Robbins production. Of special interest are Robbins’ notes and doodle referencing West Side Story found on Louis Köhler’s Sonatina Album score.</div></li><li><div class='series-title'><a href='/dan/19855#c421857'>Series VIII: Oversized</a></div>\n<div class='series-date'>1931 - 1998, undated</div>\n<div class='series-description'> This series contains the oversized awards, ballet / musical notes, biographical, clippings, organization and score material found in the collection.</div></li></ul>\n", "type"=>"arrangement"}
arrangement: {"value"=>" <ul class=\"list\"> <li> Series I: Biographical Material, 1923-2000 and undated <ul class=\"list\"> <li> Sub - series 1: Poppa Piece Materials, 1923 - 1998 and undated</li> <li> Sub - series 2: Biographical Materials, 1923 - 2000 and undated</li></ul></li> <li>Series II: Ballet Notes, 1938 - 1998 and undated</li> <li> Series III: Production Material, 1939 - 1999 and undated</li> <li>Series IV: Personalities, 1925 - 1998 and undated</li> <li>Series V: Organizations, 1937 - 1999 and undated</li> <li> Series VI: Personal Financial Material, 1940 - 1998 and undated</li> <li>Series VII: Scores, 1955 - 1987 and undated</li> <li> Series VIII: Oversized, 1931 - 1998 and undated</li></ul>", "supress_display"=>true}
acqinfo: {"value"=>"Jerome Robbins"}
separatedmaterial: {"value"=>"<ul class=\"list\"> <li> • Actors Studio Award, 1980 (Box 2)</li> <li> • Anglo-American Contemporary Dance Foundation Lifetime Achievement in the Dance, 1985 (“The Dancer” an original sculpture by Henry Moore; Box 1)</li> <li> • Commonwealth Award of Distinguished Service in the Dramatic Arts, 1990 (Box 2)</li> <li> • Dance Magazine Award, 1957 (Box 1)</li> <li> • Emmy Award: The Academy of Television, Arts and Sciences Award for Best Single Program of the Year (Producer’s showcase)- Peter Pan, 1955 (Box 4)</li> <li> • Evening Standard Drama Award for West Side Story, 1958 (Broken marble piece in envelope attached to statue; Box 4)</li> <li> • Face Mask-paper and black paint, ca 1942-1944 (Box 2)</li> <li> • Fiddler on the Roof image painted on marble by Arlena Rubin (Wellesley and Arlena Rubin name signed in marker on the back; Box 5)</li> <li> • I.S.P.A.A. Award, 1978 (Box 5)</li> <li> • Jerome Robbins’ Broadway Imperial Theatre New York City / Opening Night February 26, 1989 commemorative award (Box 5)</li> <li> • Kennedy Center Award and presentation case (case received damaged; Box 3)</li> <li> • New York City Ballet-40th Anniversary Celebration, 1988 (Box 2)</li> <li> • New York University Musical Theatre Hall of Fame, 1995 (Box 1)</li> <li> • Oscar Award: Academy Honorary Award to Jerome Robbins for Brilliant Achievements in the Art of Choreography on Film, 1961 (Box 4)</li> <li> • SBI Owl Award-Jerome Robbins Choreography of the Year- West Side Story, 1961 (Box 4)</li> <li> • Spoleto Festival-XXV Festival dei due Mondi (Box 2)</li> <li> • Sylvania Award for Outstanding Contribution to Creative Television Technique- Ford 50th Anniversary Show, 1953 (Handle carefully; Box 1)</li> <li> • Tony Award / American Theatre Wing: Jerome Robbins’ Broadway -Best Direction of a Musical, 1989 (Box 3)</li> <li> • Trophée des Arts, 1993 (Box 5)</li> <li> • Washington D.C. “Key to the City” awarded to Leonard Bernstein, Jerome Robbins and Arthur Laurents for their work on West Side Story, 1957 (Box 5)</li> <li> • The Whitbread Anglo American Theatre Award for Distinguished Direction of Musicals-The Dorchester London, 1967 July (Box 3)</li></ul> <ul class=\"list\"> <li> • Dybbuk, undated</li> <li> • Fanfare -score reduction (microfilm), undated</li> <li> • In the Night <ul class=\"list\"> <li> • Audio tape (Handwritten on cover- In the Night / Chopin / 10.137.2”</li> <li>• Super 8 Kodak Ektachrome film</li></ul></li> <li> • Inspiration -in the Beginning Bill Sparks Originals with Organ (J.F. Kennedy)-45 RPM record</li> <li> • Les Noces -final performance CD, 1998 June 3</li> <li> • Mary Martin Tribute-tape, undated</li> <li> • Untitled recording-Glenn Bacon handwritten on box</li> <li> • Watermill -Dub of soundtrack from 1972 film, undated</li></ul>"}
processinfo: {"value"=>" Processed by Thea Constantine; Machine-readable finding aid created by Thea Constantine."}
accessrestrict: {"value"=>"The written permission of the Jerome Robbins Estate is necessary for access to this collection. Materials may not be photographed or photocopied without written permission of the Jerome Robbins Estate. For permission to access the collection, contact the Jerome Robbins Dance Division."}
userestrict: {"value"=>" For permission to publish, contact the Curator, Jerome Robbins Dance Division."}
relatedmaterial: {"value"=>"<ul class=\"list\"> <li> • Jerome Robbins Collection of Graphic works, *MGZMD 134. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.</li> <li> • Jerome Robbins Papers, *MGZMD 130. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.</li> <li> • Jerome Robbins Photographs, *MGZEB 99-9451. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.</li></ul>"}
extent_statement: 100 linear feet (171 boxes)

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Jerome Robbins personal papers

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