Word: sides
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Dates: during 1980-1989
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...with a growing black middle class, the enormous expansion of political power epitomized by Jackson's presidential campaigns, and a burgeoning sympathy with the struggle against South African apartheid, yet another shift may be taking place. Jackson argues that "black tells you about skin color and what side of town you live on. African American evokes a discussion of the world." It was Ramona H. Edelin, president of the National Urban Coalition, who actually proposed the switch in December at a Chicago meeting of black leaders, including Jackson, that was held to plan a summit to set a black agenda...
...shaman, now 70, presents dances from nine of the glorious musicals he directed or choreographed between 1944 and 1964. The sailors from On the Town again saunter through wartime New York, New York. The royal courtesans of The King and I restage Uncle Tom's Cabin, Siamese-style. West Side Story's Sharks and Jets strut toward one more epochal + rumble. The shtetl Jews from Fiddler on the Roof hold true to tradition...
...songs for five Robbins musicals. "A lot of people will see this show and realize what they've missed." Co-producer Emanuel Azenberg must hope so too. "Shows that have been successful lately are just not for me," he says. "Then I see the suite of dances from West Side Story, and tears are coming. I realize that my values are not so cuckoo -- this was good. You walk out of the theater reaffirming the values that had you walking into the theater 30 years...
...decades, Robbins commuted easily, prodigiously, between the ballet and Broadway. One form fed the other. In 1943 he danced in Anthony Tudor's Romeo and Juliet; six years later, he devised his own Romeo and Juliet ballet, The Guests; in 1957 he reworked the theme for West Side Story and, the next year he adapted that show's street rhythms in his ballet N.Y. Export: Opus Jazz. His creativity and vigor seemed inexhaustible: 20 musicals and 19 ballets in 20 years. Even Robbins is impressed. "When I started doing this show," he says, "I looked at what I did then...
...Roof in 1964, he has devoted his time to creating pieces for City Ballet. "I never said, 'That's that, I will never work on Broadway again.' It wasn't so much a turning away from Broadway as it was a turning toward something else." Stephen Sondheim (West Side Story, Gypsy, A Funny Thing Happened on the Way to the Forum) believes Robbins was corseted by the inevitable compromises built into musical collaboration: "Jerry would say, 'It is ridiculous to put on a musical in five weeks,' and he is right -- it is ridiculous. But those are the constraints...