All Robbins Main Page May 29–June 8, 2008 Director's Notes   Peter Boal (Photo: Jerry Davis) I don't know why I called him Jerry when he continually called me Paul. You'd think after originating roles in six ballets over fifteen years, he'd know my name. Then again, Margaret was Cathy, Stuart was Justin and Damian was Oscar Wilde. I didn't mind or correct him; after all, he was Jerome Robbins. Besides, most people were simply, "Hey, you!" Jerry was so focused on the rehearsal process that names and even feelings didn't interfere. We were all absorbed in creating and refining great choreography. Jerry suffered intensely from self-doubt, questioning constantly. In the choreographic process, we'd have not only versions 1, 2 and 3, but also 2b, c and d. Each of us was responsible for remembering long-gone versions. We were part of an obsessive creator's method, working hours without five-minute breaks, rarely conscious of the clock. Breaks only came when dogs bounded into the studio. Several dancers bought puppies in an attempt to get their fives back. I joined the New York City Ballet three days after the death of George Balanchine. At that time, many wondered what fulfillment could be found in the wake of a genius. But Robbins, though different than Balanchine, was also a genius. He was a master of entertainment with a string of Broadway successes to accompany his wildly popular ballets. He was brilliant at infusing his work with subtle emotion. Poignancy, humor, tenderness and memory weave delicately through his work, capturing perfectly the complexity of relationships. For all his greatness, I remember the man who recognized his dancers as vital participants on the journey of choreography. He was a series of baffling yet appealing contradictions: demanding and shy, confident and insecure, encouraging and discouraging. To the end, he maintained his boyishness with a sudden, genuine grin and a willingness to laugh at mistakes and good jokes, even when they were his own. No individual pushed me harder or taught me more. That questioning man in the studio called Jerry was the secret to Jerome Robbins, master choreographer of the stage and screen, from Broadway to the great ballet companies of the world. PNB is rapidly building a stellar collection of Robbins works, with brilliant masterpieces West Side Story Suite and Dances at a Gathering coming next spring. On the tenth anniversary of his passing, we are pleased to look at three great ballets by this American original and to celebrate the work of a genius. Thank you, Jerry! Love, Paul Peter Boal Artistic Director