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DanceWhen I started reviewing dance in New York City, Jerome Robbins was alive and well and making ballets for the New York City Ballet. It was 1984, the year after George Balanchine died. Peter Martins was the story then, intensely watched, each new ballet a clue to what he might do with Balanchine’s kingdom, for it was Martins who had stepped into the directorship and Martins who was steering the company. There’d been a skirmish about that. Robbins pulled a Philip Larkin—he didn’t want the job but he felt the least they could do was offer it to him. Robbins was given the title of “co-ballet master in chief,” and his presence at NYCB continued as always: he was a deputy who was a genius and in those dark days a ballast. So he was a surety, a continuity, choreographing new pieces until his death in 1998. I didn’t pay proper attention to Robbins in those fourteen years. I was ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 27 January 2009, on page 36 Copyright © 2009 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Prodigal-son-3985
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by Laura Jacobs On the American Ballet Theater, the New York City Ballet & Veronika Part. by Laura Jacobs On Alexei Ratmansky, Rabbit and Rogue at American Ballet Theatre, and Jupiter Symphony at Pennsylvania Ballet. by Laura Jacobs On American Ballet Theatre's Sleeping Beauty at the Metropolitan Opera House, New York.  The New Criterion is now optimized for Mobile Devices 
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