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In Memory of... | |||
| Composer | Alban Berg | ||
| Music | Violin Concerto | ||
| Dancers | Suzanne Farrell, Joseph Duell, Adam Luders | ||
| Scenery | David Mitchell | ||
| Costumes | Dain Marcus | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | June 13, 1985, New York State Theater, New York City Ballet | ||
| Casting Reqs | 19 Dancers | ||
| Requirements | violin, orchestra | ||
| Running Time | 27′ | ||
| Notes | On learning of the death of the young daughter of a close friend, Berg, who had a deep affection for the eighteen year old girl, was so overcome that he put aside his work on his opera ″Lulu″ and began composing a violin concerto which, in his own words, was ″dedicated to an angel.″ The music is divided into programmatic sections. First, a portrait of the girl; next, her illness and death; lastly, her transfiguration. Also hidden within the composition are many autobiographical references to Berg himself.
These events took place in the mid-thirties during the Nazi rise to power which, in Austria, left Berg more or less nationless and stripped of his position and security. Within four months of completing the orchestration of the concerto, Berg himself died without ever having heard it performed, leaving the last act of ″Lulu″ unfinished. | ||
In the Night | |||
| Composer | Frédéric Chopin | ||
| Music | Nocturne (op. 27, no. 1), Nocturne (op. 55, nos. 1 & 2), Nocturne (op. 9, no. 2) | ||
| Dancers | Kay Mazzo, Anthony Blum, Violette Verdy, Peter Martins, Patricia McBride, Francisco Moncion | ||
| Costumes | Anthony Dowell | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | January 29, 1970, New York State Theater, New York City Ballet | ||
| Casting Reqs | 6 Dancers
Part I: 1 woman, 1 man Part II: 1 woman, 1 man Part III: 1 woman, 1 man | ||
| Requirements | piano | ||
| Running Time | 21′ | ||
Interplay | |||
| Composer | Morton Gould | ||
| Music | American Concertette (1943) First Movement Second Movement - Gavotte Third Movement - Blues Fourth Movement | ||
| Dancers | Fernando Alonso, Muriel Bentley, Mildred Herman, John Kriza, Harold Lang, Tommy Rall, Janet Reed, Rozsika Sabo | ||
| Costumes | Santo Loquasto (original costumes by Irene Sharaff) | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | June 1, 1945, Ziegfeld Theatre, Billy Rose′s Concert Varieties | ||
| Casting Reqs | 8 Dancers: 4 women, 4 men | ||
| Requirements | piano, orchestra | ||
| Running Time | 17′ | ||
| Notes | The ballet demonstrates the interplay between classic ballet steps and the contemporary spirit with which they are executed, the interplay between the dancers and the orchestra, and finally between the dancers themselves. The ballet was first performed in Concert Varieties at the Ziegfeld Theatre in June of 1945 and has since been a favorite in the contemporary American repertory. The music is Morton Gould′s ″American Concertette″. | ||
Introduction and Allegro for Harp | |||
| Composer | Maurice Ravel | ||
| Music | Introduction and Allegro for Harp | ||
| Dancers | Patricia McBride, Helgi Tomasson | ||
| Costumes | Arnold Scaasi | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | May 22, 1975, New York State Theater, New York City Ballet | ||
| Casting Reqs | 8 Dancers
Principals: 1 woman, 1 man; 3 women, 3 men | ||
| Requirements | harp soloist | ||
Ives, Songs | |||
| Composer | Charles Ives | ||
| Music | The Children's Hour, Memories A: Very Pleasant, Waltz, The Cage, The See'r, Two Little Flowers, At the River, Serenity, He Is There, Elegie, Tom Sails Away, White Gulls, Songs My Mother Taught Me, There is a Lane, In Summer Fields, Incantation, Like a Sick Eagle | ||
| Dancers | Helene Alexopoulos, Stephanie Saland, Alexandre Proia, Jeppe Mydtskov, Laurence Matthews, Stacy Caddell, Katrina Killian, Margaret Tracey, Lauren Hauser, Melinda Roy, Lisa Jackson, Michael Byars, Tom Gold, Robert Lyon, Damian Woetzel, Philip Neal, Jeffrey Edwards, Florence Fitzgerald, Otto Neubert | ||
| Cast | Singer: Timothy Nolan
Pianist: Gordon Boelzner | ||
| Scenery | David Mitchell | ||
| Costumes | Florence Klotz | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | February 4, 1988, New York State Theater, New York City Ballet | ||
| Casting Reqs | 40 Dancers:
The Children′s Hour: 3 women, 1 man Memories A: Very Pleasant: 3 women Waltz: 4 women, 3 men The Cage: 2 men The See′r: 1 man Two Little Flowers: 6 women At the River & Serenity: 6 women, 6 men He Is There: 12 men Elegie: 6 men Tom Sails Away: 4 women, 9 men White Gulls: 5 men Songs My Mother Taught Me: 6 women There is a Lane: 3 women, 3 men In Summer Fields: 1 woman, 1 man from the Incantation: 1 woman, 1 man Like a Sick Eagle: 3 men | ||
| Requirements | baritone, piano | ||
| Running Time | 41′ | ||
Jerome Robbins' Broadway | ||
| Director | Jerome Robbins | |
| Choreographer | Jerome Robbins | |
| Genre | MUSICALS | |
| Premiere | February 26, 1989, Imperial Theatre; New York City | |
Jones Beach | |||
| Composer | Jurriaan Andriessen | ||
| Music | Berkshire Symphonies (Symphony No. 1 for Orchestra) | ||
| Dancers | Melissa Hayden, Yvonne Mounsey, Beatrice Tompkins, Herbert Bliss, Frank Hobi, Tanaquil LeClercq, Nicholas Magallanes, William Dollar, Maria Tallchief, Jerome Robbins | ||
| Costumes | Jantzen | ||
| Genre | BALLET | ||
| Premiere | March 9, 1950, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 5 principal women, 5 principal men; 22 women, 9 men; 2 couples; 7 women | ||
L′Histoire du Soldat | |||
| Composer | Igor Stravinsky | ||
| Music | l′Histoire du Soldat | ||
| Scenery | Boris Aronson | ||
| Costumes | Patricia Zipprodt | ||
| Lighting | Dick Casler | ||
| Genre | BALLET | ||
| Premiere | January 24, 1965 | ||
| Casting Reqs | 3 principal men | ||
| Requirements | Narrator, 7 musicians | ||
Les Noces | |||
| Composer | Igor Stravinsky | ||
| Music | Les Noces | ||
| Dancers | Erin Martin (Bridge); Veronika Mlakar, Joseph Carow (Her Parents); William Glassman (Groom); Sallie Wilson, Bruce Marks (His Parents); Rosanna Seravalli, Ted Kivitt (Matchmakers) | ||
| Scenery | Oliver Smith | ||
| Costumes | Patricia Zipprodt | ||
| Lighting | Jean Rosenthal | ||
| Genre | BALLET | ||
| Premiere | March 30, 1965, New York State Theatre, Ballet Theatre | ||
| Casting Reqs | The Bride; Her Parents; The Groom; His Parents; Matchmakers (1 man, 1 woman; Friends & Guests (9 women, 10 men--corps) | ||
| Requirements | 4 singers, 4 pianists, 4 percussionists, xylophone, timpani | ||
| Running Time | 24′ | ||
| Notes | Stravinsky used as material for "Les Noces" the ritualistic elements found in the ancient customs and traditions of Russian peasant weddings but reserved the right to use them with absolute freedom, paying little heed to ethnographical considerations. His purpose was not to reproduce the wedding or show a staged dramatization with descriptive music but rather to present a ritualized abstraction of its essences, customs, and tempers.
The text is adapted from folk songs and popular verse, typical wedding remarks – clichés of conversations – but again, they are not used realistically but rather as a collage of the words spoken or sung during these traditional rites. The first half of the "scenic ceremony" deals with the preparations and revolves around religious elements. Alternating with these intense invocations and blessings are continual lamentations by the parents for the loss of their children and by the bride, against the matchmaker, on leaving home and on losing her virginity. In the second half (the wedding feast), the grief and religious elements are forgotten in robust celebrations with food, drink, songs, toasts, boasts, bawdiness, rough jokes, etc.. A married couple is selected to warm the bed and finally the marriage is allowed to be consummated while all sit outside the nuptial chamber. The composition is divided into four tableaus which run without interruption. | ||
Live from Studio 8H: An Evening with Jerome Robbins and Members of the New York City Ballet | |||
| Choreographer | Jerome Robbins | ||
| Genre | TELEVISION | ||
| Premiere | July 2, 1980 | ||
| Notes | 1980; Live NBC telecast | ||
Look Ma, I'm Dancin' | |||
| Book | Jerome Lawrence & Robert E. Lee | ||
| Composer | Hugh Martin | ||
| Lyrics | Hugh Martin | ||
| Director | George Abbott & Jerome Robbins | ||
| Choreographer | Jerome Robbins | ||
| Leads | Nancy Walker (Lily Malloy)
Harold Lang (Eddie Winkler) Janet Reed (Ann Bruce) Alice Pearce (Dusty Lee) Don Liberto (Wotan) Loren Welch (Larry) Virginia Gorski (Snow White) Rommy Rall (Tommy) Robert H. Harris (F. Plancek) Katherine Sergava (Tanya Drinskaya) Alexander March (Vladimir Lubov) Raul Celada (Tanya′s Partner) | ||
| Dancers | Margaret Banks; Mary Broussard; Julie Curtis; Clare Duffy; June Graham; Nina Frenkin; Priscilla Hathaway; Douglas Luther; Bettye McCormack; Gloria Patrice; James Pollack; Dottie Pyrfn; Walter Rinner; Marten Sameth; Walter Stane; Robert Tucker | ||
| Scenery | Oliver Smith | ||
| Costumes | John Pratt | ||
| Genre | MUSICALS | ||
| Premiere | January 29, 1948, Adelphi Theatre, New York City | ||
| Notes | Scenario by Jerome Robbins. | ||
Miss Liberty | |||
| Book | Robert Sherwood | ||
| Composer | Irving Berlin | ||
| Lyrics | Irving Berlin | ||
| Director | Moss Hart | ||
| Leads | Eddie Albert (Horace Miller)
Allyn McLerie (Monique Dupont) Mary McCarty (Maisie Dell) Charles Dingle (James Gordon Bennett) Herbert Berghof (Bartholdi) Philip Bourneuf (Joseph Pulitzer) Ethel Griffies (The Countess) Tommy Rall (The Boy/The Dandy) Maria Karnilova (The Girl/Ruby) | ||
| Dancers | Virginia Cowell; Coy Dare; Norma Doggett; Dolores Goodman; Patricia Hammerlee; Norma Kaiser; Gloria Patrice; Janice Rule; Tiny Shimp; Bill Bradley; Fred Hearn; Allen Knowles; Kazimir Kokic; Erik Kristen; Robert Pagent; Eddie Phillips; Bob Tucker | ||
| Scenery | Oliver Smith | ||
| Costumes | Motley | ||
| Genre | MUSICALS | ||
| Premiere | July 15, 1949, Imperial Theatre, New York City | ||
| Notes | Staged by Jerome Robbins | ||
Mother Courage and Her Children | |||
| Book | Bertolt Brecht, translated by Eric Bentley | ||
| Director | Jerome Robbins | ||
| Leads | Anne Bancroft (Mother Courage) | ||
| Scenery | Ming Cho Lee | ||
| Costumes | Motley | ||
| Genre | PLAYS | ||
| Premiere | March 28, 1963, Martin Beck Theatre; New York City | ||
| Notes | Produced by Jerome Robbins | ||
Mother Goose | |||
| Composer | Maurice Ravel | ||
| Music | Ma Mere l′Oye Suite (1908, orchestrated 1912) | ||
| Dancers | Muriel Aasen (Story Teller, Princess Florine); Delia Peters (Good Fairy); Tracy Bennett (Bad Fairy); Deborah Koolish (Beauty); Richard Hoskinson (Beast); Matthew Giordano (Hop o′ My Thumb); Colleen Neary (Laideronette); Jay Jolley (Green Serpent); Daniel Duell (Prince Charming) | ||
| Costumes | Stanley Simmons | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | May 22, 1975, New York State Theater, New York City Ballet | ||
| Casting Reqs | 32 Dancers
Story Teller, Princess Florine, Good Fairy (girl), Bad Fairy (boy), Beauty (girl), Beast (boy), Hop o My Thumb (boy), Laideronnette (girl), Green Serpent (boy), Prince Charming, Cupid (boy), Blackamoors (2 girls, 2 boys), Pagodines (2 girls, 2 boys), Courrier (boy), Corps (5 girls, 8 boys) | ||
| Requirements | story teller, orchestra | ||
| Running Time | 25′ | ||
| Notes | In 1908 Ravel wrote five piano pieces based on fairy tales as a suite which he called "Ma Mere l′Oye". Later, in 1911, writing a scenario of his own, he added more pieces plus connective transitions. His scenario, charming and wittily detailed as written into the score itself, contains delightful invention. To the spellbound Sleeping Beauty (a character in a fairy tale by Perrault) he gives dreams of other fairy tale characters (also by Perrault or imitators). The ballet had its premiere in 1912 at the Theatre des Arts, Paris. | ||
Moves | |||
| Music | A Ballet in Silence | ||
| Dancers | Erin Martin, Michael Maule, Lawrence Gradus, John Jones, James Moore, Bill Reilly, Doug Spingler, Jamie Bauer, Gwen Lewis, Jane Mason, Barbara Milberg, Christine Mayer | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | July 3, 1959, ″Teatro Nuovo Spoleto, Italy; Ballets: U.S.A. | ||
| Casting Reqs | 12 Dancers: 6 women, 6 men | ||
| Running Time | 25′ | ||
| Notes | Moves was created for Robbins′ Ballets: U.S.A. and had its world premiere at the Festival of Two Worlds in Spoleto, Italy in 1959.
Whether a ballet tells a story or concerns itself with pure dance, its form is determined by the web of music on which it is composed according to the interpretations of the choreographer. The score conditions, supports, predicts, and establishes the dynamics, tempos and mood not only for the dance, but for the audience. The music acts as a base for the spectators′ responses to the happenings on stage and creates a pervasive atmosphere for reaction. Moves severs that guidance and permits the audience to respond solely to the action of the dance, to become aware of the potential to gesture and to respond directly to the curiosity of movement, and to be released from the associations evoked by scenery, costumes, and music. | ||
N.Y. Export: Opus Jazz | |||
| Composer | Robert Prince | ||
| Music | N.Y. Export: Opus Jazz | ||
| Dancers | Patricia Dunn, Jay Norman, Tom Abbott, Bob Bakanic, John Mandia, James White, Wilma Curley, John Jones, Sondra Lee, Gwen Lewis, Erin Martin, Barbara Milberg, Beryl Towbin, Joan Van Orden, James Moore | ||
| Scenery | Ben Shahn | ||
| Costumes | Ben Shahn and Florence Klotz | ||
| Lighting | Jean Rosenthal | ||
| Genre | BALLET | ||
| Premiere | June 8, 1958, Festival of Two Worlds, Spoleto, Italy; Ballets: U.S.A. | ||
| Casting Reqs | 18 Dancers: 2 principal men, 2 principal women; 7 men, 7 women | ||
| Running Time | 28′ | ||
| Notes | "N.Y. Export: Opus Jazz" was first performed by Jerome Robbins′ Ballets: U.S.A. at the Festival of Two Worlds in Spoleto, Italy in June of 1958. Following are revised program notes from that production which concern the youth and dances of the late 50's.
There has always been a tremendous amount of popular dancing in America. At this time, its vitality has reached a new high, developing and expanding in form and style from the major and basic contributions of the African-American and Latin-American. Because of a strong unconscious emotional kinship with those minority roots, teenagers particularly have popularized these dances. Feeling very much like a minority group in this threatening and explosive world, the young have so identified with the dynamics, kinetic impetus, the drives and ′coolness′ of today′s jazz steps that these dances have become an expression of our youths′ outlook and their attitudes toward the contemporary world around them, just as each era′s dance has significantly reflected the character of our changing world and a manner of dealing with it. "N.Y. Export: Opus Jazz" is a formal, abstract ballet based on the kinds of movements, complexities of rhythms, expressions of relationships, and qualities of atmospheres found in today′s dance. | ||
Oh Dad, Poor Dad, Mama′s Hung You in the Closet and I′m Feelin′ So Sad | ||
| Book | Arthur Kopit | |
| Composer | Robert Prince | |
| Director | Jerome Robbins | |
| Leads | Jo Van Fleet
Austin Pendleton Barbara Harris Tony Lo Bianco | |
| Scenery | William & Jean Eckart | |
| Costumes | Patricia Zipprodt | |
| Genre | PLAYS | |
| Premiere | August 27, 1963, Morosco Theatre; New York City | |
On the Town |
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| Book | Betty Comden & Adolph Green | ||
| Composer | Leonard Bernstein | ||
| Lyrics | Betty Comden & Adolph Green | ||
| Director | George Abbott | ||
| Choreographer | Jerome Robbins | ||
| Leads | Sono Osato (Ivy) Nancy Walker (Hildy) Betty Comden (Claire) Adolph Green (Ozzie) John Battles (Gabey) Robert Chisholm (Pitkin) Chris Alexander (Chip) Ray Harrison (The Great Lover) | ||
| Dancers | Barbara Gaye; Lavina Nielsen; Atty Vandenberg; Dorothy McNichols; Cyprienne Gabelman; Jean Handy; Virginia Miller; Nelle Fisher; Royce Wallace; Allyn Ann McLerie; Malka Farber; Aza Bard; Ray Harrison; Frank Neal; Carle Ebrele; James Flashe Riley; Ben Piazza; Douglas Matheson; Duncan Noble; Frank Westbrook; John Butler; Richard D'Arcy; Lyle Clark | ||
| Scenery | Oliver Smith | ||
| Costumes | Alvin Colt | ||
| Genre | MUSICALS | ||
| Premiere | December 28, 1944, Adelphi Theatre, New York City | ||
| Notes | Based on Jerome Robbins' ballet "Fancy Free" | ||
Opus 19 / The Dreamer | |||
| Composer | Sergei Prokofiev | ||
| Music | Violin concerto No. 1 in D Major | ||
| Dancers | Patricia McBride, Mikhail Baryshnikov | ||
| Costumes | Ben Benson | ||
| Lighting | Jennifer Tipton (original lighting by Ronald Bates) | ||
| Genre | BALLET | ||
| Premiere | June 14, 1979, New York State Theater, New York City Ballet | ||
| Casting Reqs | 14 Dancers: 1 principal woman, 1 principal man; 6 corps women, 6 corps men | ||
| Requirements | violin, orchestra | ||
| Running Time | 23′ | ||
Other Dances | |||
| Composer | Frederic Chopin | ||
| Music | Mazurka (op. 17, no. 4)
Mazurka (op. 41, no. 3) Waltz (op. 64, no. 3) Mazurka (op. 63, no. 2) Mazurka (op. 33, no. 2) | ||
| Dancers | Natalia Makarova, Mikhail Baryshnikov | ||
| Costumes | Santo Loquasto | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | May 9, 1976, Metropolitan Opera House; Gala, NYPL for the Performing Arts | ||
| Casting Reqs | 2 Dancers: 1 woman, 1 man | ||
| Requirements | piano on stage | ||
| Running Time | 17′ | ||
| Notes | ″Other Dances″ was created especially for a gala benefit for the Library of Performing Arts at Lincoln Center. The program notes for that occasion follow:
″The title of this series of dances reflects their relationship to Jerome Robbins′ ″Dances at a Gathering″. There was so much of Chopin′s music that Mr. Robbins wished to choreograph that he has used this opportunity to devise for Miss Makarova and Mr Baryshnikov these Other Dances -- a waltz and four mazurkas.″ Dedicated to the memory of Eugenia Doll. | ||
Pas de Trois | ||
| Composer | Hector Berlioz | |
| Music | from "The Damnation of Faust" | |
| Dancers | Anton Dolin, Andre Eglevsky, Rosella Hightower | |
| Costumes | John Pratt | |
| Genre | BALLET | |
| Premiere | March 26, 1947, Metropolitan Opera House, original Ballet Russe | |
Peter Pan |
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| Book | James M. Barrie | ||
| Composer | Mark Charlap & Jule Styne | ||
| Lyrics | Carolyn Leigh, Betty Comden & Adolph Green | ||
| Director | Jerome Robbins | ||
| Choreographer | Jerome Robbins | ||
| Leads | Mary Martin (Peter Pan) Cyril Ritchard (Mr. Darling/Captain Hook) Kathy Nolan (Wendy/Jane) Robert Harrington (John) Heller Halliday (Liza) Margalo Gillmore (Mrs Darling) Joe E. Marks (Smee) Sondra Lee (Tiger Lily) | ||
| Dancers | Indians: Robert Banas, Don Lurio, Robert Piper, William Sumner, Richard Wyatt, Linda Dangcil, Lisa Lang, Suzanne Luckey, Joan Tewkesbury. Pirates: Robert Tucker, Frank Lindsay, Frank Marasco, James Whyte, William Burke, Chester Fisher, John Newton, Arthur Tookoian, Robert Vanselow, Richard Winter | ||
| Scenery | Peter Larkin | ||
| Costumes | Motley | ||
| Genre | MUSICALS | ||
| Premiere | October 20, 1954, Winter Garden Theatre; New York City | ||
| Notes | Adapted, directed and choreographed by Jerome Robbins. | ||
Peter Pan | |||
| Book | James M. Barrie | ||
| Composer | Mark Charlap & Jule Styne | ||
| Lyrics | Carolyn Leigh, Betty Comden & Adolph Green | ||
| Director | Jerome Robbins | ||
| Choreographer | Jerome Robbins | ||
| Leads | Mary Martin (Peter Pan) | ||
| Genre | TELEVISION | ||
| Premiere | March 7, 1955 | ||
| Notes | With Mary Martin; Directed and choreographed | ||
Piano Pieces | |||
| Composer | Peter Ilyich Tchaikovsky | ||
| Music | (in order of performance)
1) Danse Caracteristique, op. 72, no. 4 2) Le Paysan Prelude, op. 39, no. 12 3) Chanson Populaire, op. 39, no. 13 4) Polka, op. 39, no. 14 5) Le Petit Cavalier, op. 39, no. 3 6) Reverie, op. 9, no. 1 7) La Sorciere, op. 39, no. 20 8) November - Troika, op. 37, no. 11 9) Natha Waltz, op. 51, no. 4 10) Mazurka, op. 39, no. 10 11) October - Chant d'Automne, op. 37, no. 10 12) Polka de Salon, op. 9, no. 2 13) June - Barcarolle, op. 37, no. 6 14) Scherzo a la Russe, op. 1, no. 1 | ||
| Dancers | Ib Andersen, Kyra Nichols, Daniel Duell, Maria Calegari, Joseph Duell, Bart Cook, Heather Watts | ||
| Costumes | Ben Benson | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 11, 1981, New York State Theater, New York City Ballet | ||
| Casting Reqs | ″19 Dancers: 3 principal women, 4 principal men; 6 corps women (2 demi), 6 corps men″ | ||
| Requirements | piano | ||
| Running Time | 39′ | ||
| Notes | Tchaikovsky composed an extraordinary amount of music for the solo piano, most of it unknown compared to his more famous orchestral works. The music for this ballet is comprised of pieces which span his musical career from Opus 1, No. 1 through Opus 72, No. 4 and come from various collections: The Seasons, Children′s Album, and Opus 1, 9, 51, and 72. | ||
Piccolo Balletto | |||
| Composer | Igor Stravinsky | ||
| Music | concerto in E Flat "Dumbarton Oaks, 8.5.1928" for Chamber Orchestra | ||
| Dancers | Darci Kistler, Robert LaFosse | ||
| Scenery | Santo Loquasto | ||
| Costumes | Santo Loquasto | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 5, 1986, New York State Theater, New York City Ballet | ||
| Casting Reqs | 14 Dancers: 1 principal woman, 1 principal man; 6 corps women, 6 corps men | ||
| Requirements | orchestra | ||
| Running Time | 15′ | ||