Author Nancy Reynolds described, [In In G Major,] matching in spirit Ravel's unaccustomed "borrowings" from jazz (as the composer called them), Robbins produced a rather clichéd but nonetheless skillful and entertaining work, with a creamy-smooth central pas de deux.
In Robbins's extensive quotations of Broadway-style material ... he seemed often to reach for the too-obvious solution, possibly in keeping with Ravel's idea that a concerto should be "light-hearted and brilliant and not aim at profundity or dramatic effects.
For In G Major, Robbins had developed the central pas de deux on Sara Leland and Bart Cook, before bringing it to Farrell and Martins.
[6] Farrell was unfamiliar with this process and "did not particularly like the audition atmosphere that was sure to encourage insecurity all around", but also noted Robbins was "polite, helpful, and accommodating", and she enjoyed dancing the pas de deux.
[6] Martins recalled Robbins "constantly made clear how interested he was in us as dancers, and that he had no ideal notion of what this piece absolutely must be like.
[1] The Paris production featured costumes and scenery designed by the artist Erté that suggested a French Riviera setting.