Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers. — Robert Gottlieb Copy Share Image
Paul Taylor's 'Offenbach Overtures' has lots of zip and charm, and its pair of dueling soldiers in red, who end up starry-eyed about each… — Robert Gottlieb Copy Share
Jodi Melnick is hotly self-absorbed. Her onstage musicians are much too loud, and like so many narcissistic performers, she goes on much too long:… — Robert Gottlieb Copy Share
Increasingly, editing means going to lunch. It means editing with a credit card, not with a pencil. — Robert Gottlieb Copy Share
'Porgy and Bess' has never been thought of as a dance show, and yet it's filled with dance. It uses dance to punctuate the… — Robert Gottlieb Copy Share
We know how Merce Cunningham works and how he thinks - we've been told, over and over again, by him and by others. — Robert Gottlieb Copy Share
When I was at Cambridge in the early fifties, there was a school nearby for training Army officers in Russian, and some imaginative genius… — Robert Gottlieb Copy Share
Many people say to me, particularly about my dance writing, 'It sounds just like you.' But it sounds just like me after I've made… — Robert Gottlieb Copy Share
Schumann's 'Quintet in E flat for Piano and Strings' is one of the sublime moments in Romantic music. — Robert Gottlieb Copy Share
What makes a publishing house great? The easy answer is the consistency with which it produces books of value over a lengthy period of… — Robert Gottlieb Copy Share
For me, the real pleasure in writing is in having an excuse to pursue my curiosity about people who have meant something to me. — Robert Gottlieb Copy Share
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in… — Robert Gottlieb Copy Share
You can approach 'The Nutshell Studies of Unexplained Death' in a variety or combination of ways: as a startlingly eccentric hobby; as a series… — Robert Gottlieb Copy Share
