Leonard Bernstein and Jerome Robbins shared mutual desires to innovate and create in their individual fields and to create truly ‘American’ art of the twentieth century. Their collaborations for ballet (Fancy Free, On the Town, Facsimile, Age of Anxiety, Dybbuk) and musical theatre and film (West Side Story) propelled each into defining their specific style and artistic voices. Their aim to synthesize classical, symphonic aesthetics with rhythms and movements of Black and Latinx vernacular dance and music; their mutual interest in translating character, intention, emotion, mood, and narrative circumstances through non-textual mediums; and their active integration of music and movement in the creative process cinched their artistic connection. Even after the two went their separate ways, their legacies are forever entwined.

E. M. Forster’s friendship with Benjamin Britten reached its creative high point in the Forster-Crozier collaboration on the Billy Budd libretto; tried in this crucible, it remained cordial until Forster’s death. As homosexual artists and public figures at the cultural centre of a homophobic society, they were linked by their shared belief in democratic values and civic freedom, their opposition to totalitarian forces and ideas, and their persistent questioning of hegemonic discourses. With minds broadened and hearts sensitised by personal experience and international connections, they recognised the importance of compassion in all human relations, and were able to address and inspire audiences from all walks of life. Both engaged with the idea of Englishness while rejecting nationalistic sentiment and intellectual bigotry, and produced works which – sadly – remain topical in their denunciation of the toxic aspects of our global masculinist culture. This chapter presents a brief introduction to E. M. Forster, author, critic, radio broadcaster, and public intellectual, with a special focus on how his work and his personal relations intersected with those of Benjamin Britten.