Review | “Don’t Think, Dear”: Ballet begins with a dream. Too often, it soon becomes a nightmare.
had a long-shot dream of ballet stardom into which she invested and achieved more than most. It was most definitely transformative. In 2001, she secured a coveted spot in the School of American Ballet and hoped to join the New York City Ballet eventually. But by age 12, she found herself worrying that she wasn’t quite the physical ideal espoused by the school’s late founder, George Balanchine: a half-starved waif.
Robb delves into the troubling litany of #MeToo abuses in the company’s history — including Balanchine’s penchant for sexually pursuing his much younger employees. “For Balanchine, romance was the natural next step in a good working relationship,” she quips. His successor, Peter Martins,, which he denied. Other dancers, Robb says, closed ranks around Martins. “For years, they had starved for him and slept with him,” she observes. “Now they would stay silent for him.
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