Ebook Dance with Demons: The Life of Jerome Robbins, by Greg Lawrence
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Dance with Demons: The Life of Jerome Robbins, by Greg Lawrence
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Despite becoming established as one of the century's greatest choreographic masters, in 1998, Jerome Robbins died a haunted man. All his life, he was tortured by private demons: his conflicting feelings about his sexuality and his religion; his bitter relationship with his parents; his scandalous betrayals during the McCarthy hearings; and a sadistic but genius drive for perfection. Now, this groundbreaking biography, based on hundreds of interviews with friends, family and colleagues, provides the first complete portrait of the man and the artist - a harrowing, heartbreaking and triumphant work as complicated and fascinating as the man himself.
- Sales Rank: #3034170 in Books
- Published on: 2002-04-02
- Released on: 2002-04-01
- Original language: English
- Number of items: 1
- Dimensions: 9.08" h x 1.39" w x 6.08" l,
- Binding: Mass Market Paperback
- 640 pages
From Publishers Weekly
Choreographic and theatrical genius Jerome Robbins was born in 1918 in New York City into a materially comfortable but emotionally bleak Jewish immigrant family in New York City. Lawrence (who coauthored Gelsey Kirkland's Dancing on My Grave) points to this emotionally bereft childhood and paternal disapproval ("My son's a fag how can I talk to him?" was reportedly his father's attitude), as well as Robbins's struggles with his Jewish heritage, his sexuality and, most famously, his decision to name names before the House Committee on Un-American Activities in the 1950s, as the definitive aspects of Robbins's life and creative legacy. The sum total of Robbins's work as reported here is staggering; his decades at the heart of the golden ages of American ballet, musical theater, theater and film, as director or choreographer, often in collaboration with such giants as Leonard Bernstein and George Balanchine, left the American public a cultural gold mine. Lawrence interviewed hundreds of dancers, actors, directors, family members and other contemporaries all, whether they loved or hated him, recognized both Robbins's genius and his clearly tortured soul. Most of the remarks herein tell us far more about the speaker than about the subject, but as such, they form an indelible picture of the various eras during which Robbins worked (he was active almost until his death in 1998). Robbins himself made numerous attempts over the years to write his own autobiography, only to abandon them repeatedly when the emotional cost became too great. In the end, Lawrence's account, though comprehensive and lively, can only give us a solid picture of Robbins's times and contemporaries the man himself remains a mystery. Illus. not seen by PW. (May)Forecast: Readers in New York, the center of the ballet and theater worlds, will grab this much-touted book. First serial in Vanity Fair; forthcoming reviews in the New York Times by Janet Maslin, the New Republic, the Washington Post Book Review and Variety; an interview in New York Blade; and a May 1 spot on NPR's new show, Studio 360, will bring lots of attention.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Lawrence (coauthor with Gelsey Kirkland of Dancing on My Grave) tells the life story of legendary American choreographer Jerome Robbins from many different perspectives. Robbins is known for choreographing major Broadway musicals like West Side Story and The King and I and also many ballets. This biography is dominated by quotes from a variety of sources, including critics, dancers, family, and Robbins himself. Rita Moreno of West Side Story is quoted as saying, "What he did that was so unusual [was] that he choreographed for character. He choreographed the way a writer writes." Robbins's demons of the title include problems with his family, his sexual orientation, and his testimony to the House Committee on Un-American Activities (HUAC). The most interesting sections of this hefty tome concern his choreography and its creation, his collaboration with Leonard Bernstein and George Balanchine, and the artistic process. This first full-length biography of this important choreographer is recommended for all libraries. (Photos and index not seen.) Conrad's photographic biography is a good companion to Lawrence's work. Conrad, a screenwriter and longtime friend of Robbins, has combined photographs of Robbins's childhood, insider looks at rehearsals, and lovely photos of performances of his choreography with excerpts from his journals and brief biographical narrative. The result is a heartfelt tribute to a man she clearly loved who contributed much to his art. Recommended for public libraries with broad interest in dance. Barbara Kundanis, Batavia P.L., IL
Copyright 2001 Reed Business Information, Inc.
From Booklist
American choreographer and director Jerome Robbins was cruel, controlling, given to sudden, childish temper tantrums, willing to do anything to get what he wanted out of his dancers and actors. But what he got was often brilliant. The list of Broadway shows he had a hand in is a roster of classics--The King and I, West Side Story, Gypsy, Fiddler on the Roof--and he was also a respected ballet master for the American Ballet Theatre and the New York City Ballet. Lawrence's thick yet graceful biography shows us Robbins the difficult boss and the sensitive artist, the inspired director and the not always very good friend. As the title implies, part of the book discusses Robbins' paranoia, his ambivalent relationship with his father, and his fruitless attempts to psychoanalyze away homosexual feelings. Especially fascinating is the coverage of Robbins' tepid involvement in left-wing causes in the '30s and '40s and his subsequent, all-but-forgotten testimony before HUAC, in which he named names and destroyed careers, perhaps, Lawrence argues, to save his own. Jack Helbig
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
9 of 9 people found the following review helpful.
A real page-turner!
By Adrienne Fischier
Jerome Robbins was an extremely complex and difficult man -- and a genius. His choreography was more highly rated than Balanchine's in France, for instance. In this very well written book the reader is able to go inside the worlds of ballet and musical theater through endless but never boring details. "West Side Story" is Robbins's most famous work; he won two Oscars for the movie, but had been fired from the production! Marvelous insights into the personalities and talents of a generation of theatrical wizards in New York, particularly in the '50s. You don't have to be a ballet fan to enjoy this book.
11 of 14 people found the following review helpful.
Thorough, gossipy, undefinitive -- maybe unnecessary
By A Customer
Despite, or because of, its inclusion of hundreds of interviews, much of Greg Lawrence's biography amounts to uncorroborated hearsay. Given the backbiting and jealous atmosphere of the theatre world, a more rigorous biographer would have carefully weighed and vetted the reliability of the sources. Lawrence apparently was not given access to Robbins' own papers and therefore the man himself is decidedly absent from these pages, as has been pointed out by reviews in The Wall Street Journal, The New Yorker, and elsewehere. It's gossipy and full of facts and opinions, but curiously empty.
Another customer reviewer here compares Lawrence's book with Christine Conrad's compendium of photographs and Robbins quotes (Jerome Robbins,That Broadway Man, That Ballet Man), to Lawrence's benefit. Seems to me you get a stronger sense of Robbins the man AND the artist from Conrad's book, even though it doesn't pretend to be a biography.
I've read that two other full-scale biographies are in the works whose authors have been allowed to see Robbins's archives; hopefully they will provide a deeper and more balanced view of the man. If anyone still cares.
2 of 2 people found the following review helpful.
Candid Life of a Driven Genius
By Timothy Hallinan
Jerome Robbins was a monster to many throughout his career. He was imperious, quick to take offense, both personally and politically treacherous (he turned on friends and lovers as easily as he turned on those whose left-wing sentiments he had once shared, naming names freely when he was called before the House Unamerican Activities Committee). But he was a brilliant choreographer and director; he introduced a modern-day American vernacular into ballet with "Fancy Free" and went on to create, direct, and/or choreograph such Broadway classics as "On the Town," "Peter Pan," "The King And I," The Pajama Game," "Bells Are Ringing", "West Side Story," "Gypsy." and "Fiddler on the Roof," among many others. He imposed a reign of terror on his productions, often (like David Merrick) playing creative principals off against each other, he hogged billing and created whole new ways of being credited (the "name in a box" thing was his idea), and generally left a trail of bodies wherever he went. In the case of "West Side Story" he re-orchestrated Leonard Bernstein's score while Bernstein removed himself to a bar and got quietly drunk -- and Bernstein was no shrinking violet. But people fought to work with him on virtually every project because he had the golden touch: in addition to the shows listed above, he transformed out-of-town dogs into hits, including "A Funny Thing Happened on the Way to the Forum" and "Funny Girl." He was bisexual although he leaned toward homosexual, and the book is very good about his relationships, many of which ended in ruins; the one that endured, in off-again, on-again form for decades was with Montgomery Clift. One of the things I like best about this book is that Greg Lawrence neither demonizes nor whitewashes his subject, seeking instead to understand him. And I have to say that in the end we understand Robbins' bad behavior much more clearly than we understand where his astonishing talent came from.
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