Balanchine also created quite a few choreographies for Broadway that left a clear stamp on his work for the New York City Ballet. In Who Cares?, set to 16 songs by George Gershwin, he evokes the chic glamour, light-hearted humour and effervescent joie de vivre of old Broadway.

Who Cares? is a ballet made by New York City Ballet's co-founder and founding choreographer George Balanchine to songs by George Gershwin in an orchestration by Hershy Kay. The premiere took place on Saturday, February 7, 1970, at the New York State Theater, Lincoln Center with costumes by Barbara Karinska and lighting by Ronald Bates; it was at first performed without décor but from November 1970 with scenery by Jo Mielziner.

The conductor was Robert Irving and the pianist on opening night Gordon Boelzner; the orchestration had only been completed for two songs, "Strike Up the Band" and "I Got Rhythm". "Clap Yo' Hands" was performed to a recording made by George Gershwin; this sequence was, however, eliminated by Balanchine in 1976; new costumes were commissioned from Ben Benson by Balanchine before his death and have been used since 1983.

Balanchine and Gershwin's plans to collaborate were frustrated by the composer's untimely death in 1937. Thirty-three years later, Balanchine chose seventeen of Gershwin's from Broadway musical songs for this ballet; Mayor John V. Lindsay presented Balanchine with the Handel Medallion, New York City's highest cultural award, on opening night.

Expansive in scope and streamlined in style, Glass Pieces captures the pulsating heartbeat of metropolitan life with its charged, urban choreography, concluding in a finale that propels the corps de ballet across the stage at an electrifying pace.

Although Philip Glass’s work is often labeled as minimalist, he prefers to call it “music with repetitive structures.” His early compositions were greatly influenced by Ravi Shankar and the hypnotic rhythms of Indian music. Some of his most notable work for theater includes the trilogy of operas comprising Einstein on the Beach, Satyagraha, and Akhnaten.

Jerome Robbins, originally in line to direct Akhnaten, instead choreographed a ballet using music from the opera along with Rubric and Facades, both from Glassworks. In Glass Pieces, Robbins incorporated concepts from postmodern dance into the traditional ballet vocabulary, and he infused the work with a distinctly urban energy. The recurrent rhythms, driving momentum, and labyrinth of shifting patterns of the ensemble combine to create a physical architecture for Glass’s music.

The ballet captures the dynamic pulse of metropolitan life, inspired by Philip Glass’ streamlined and hypnotic compositions. Robbins deploys a massive ensemble of dancers in this exhilarating, highly detailed, and refreshingly abstract piece.