The Jerome Robbins Catalogue

Research Compiled and Edited by Gregory Victor

The Jerome Robbins Catalogue is a database that chronicles every known work created by Jerome Robbins, whether on a stage or on a screen. The listing organizes the material chronologically and outlines the span of his creativity over more than fifty years, from Fancy Free, choreographed for Ballet Theatre in 1944, to Brandenburg, choreographed for New York City Ballet in 1997, his final creation.


​Jerome Robbins’ renown derived from the work he did and the works he created. He is known exclusively through association with his achievements, an almost twentieth-century concept. Few names in American culture represent so much accomplishment from a life’s work. With a unique voice, and something of a New York accent, he gave America its own dance and its own musical theater.

Robbins started out as a dancer. He first made a name for himself performing the works of others: George Balanchine, Agnes de Mille, Michel Fokine, Léonide Massine, Antony Tudor, Eugene Loring, and Gluck Sandor. As a student of the dance, he was an observer of the human condition. As a choreographer, he shared those insights through movement. In doing so, he showed audiences the world in which we all move.

Robbins created ballets of beauty and insight for Ballet Theatre, New York City Ballet, and Ballets: U.S.A., and staged them brilliantly at the Royal Ballet, the Paris Opera Ballet, and many other companies worldwide. His body of choreographic work, while based on the classical tradition, was essentially of its own time, an era of neoclassicism that extended the vocabulary. A considerable part of his genius was found in his talent for integrating theme, story, and character into movement. More than any recognizable choreographic style, this synthesis, this artistic focus, was what defined a Robbins work.

In an effort to present the information in a consistent manner, entries have been organized in the following manner:

Each entry is assigned a designator and a number. The designator signifies the classification of the production as follows; B = ballet, M = musical, P = play, F = film, T = television, O = opera, and D = show doctored. The number that follows each designator places the entry in chronological order: “B1” is assigned to Fancy Free, the first ballet choreographed; “M1” represents the first musical, “F1” the first film, and so on. In addition, the Catalogue includes a chronology of Robbins’ professional life, a listing of roles he performed [PF = performances given], and a listing of awards and honors he received.

While the catalogue raisonné has a history in the world of the visual arts, the dance world has not traditionally provided its scholars with such resources. The first such work, the acclaimed Choreography by George Balanchine, was published in 1984 by Eakins Press, and inspired the research for this Catalogue. The Catalogue has also been influenced by the award-winning Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, published by Dial Press in 1977. Together, these two books have been invaluable in knowing and understanding more fully the legacy of George Balanchine and the works he and others created for New York City Ballet.

In the foreword to A Bibliography of Dancing (compiled by Paul David Magriel, 1936), John Martin, America’s first major dance critic, wrote, “Reading about the dance is highly unsatisfactory, but not nearly so unsatisfactory as not reading about it.” So it is with the works of Jerome Robbins. To view the performances live, as intended, is the best way to appreciate them. Mere words cannot convey the true experience of witnessing a body moving in time through space, but this catalogue is presented in the hope that these words will convey an appreciation of the vast body of Jerome Robbins’ artistic genius.

–Gregory Victor

The Jerome Robbins Catalogue