Review by Booklist Review
Behind the ethereal beauty of a ballet performance is a world fraught with sexual politics, body obsession, and pain. As a student at the School of American Ballet founded by George Balanchine, Robb (Why We Dream, 2018) witnessed firsthand the disconnect between ballet on- and off-stage. She draws on her own experiences and those of her fellow students and incorporates the stories of such ballet luminaries as Misty Copeland, Suzanne Farrell, Gelsey Kirkland, Alicia Alonso, and Maria Tallchief. Most ballet directors and choreographers are male, and the majority of dancers are female, and that imbalance has often resulted in the abuse of power and the destruction of dance careers. Robb examines the legacy of "Mr. B." and his successors and writes with strong emotions about the sacrifices dancers make in the pursuit of perfection. Her analysis is informed by extensive research and she includes recommendations for further reading and viewing as well as a generous bibliography. An insightful look at the world of ballet and the choices and challenges faced by those who would be part of it.
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Journalist Robb (Why We Dream: The Transformative Power of Our Nightly Journey) recounts her tenure as a student at the School of American Ballet in this insightful memoir. Robb always dreamed of becoming a professional ballerina and was offered a spot at the school, which is noted for its low admission rate, in the early 2000s, but a few years later she was expelled due to her lack of progress. Robb interweaves her story with those of four classmates, who all eventually left ballet. The narrative excels in detailing the physical demands of ballet, such as the preparation for a jump from a deep plié, the overly familiar touches of a pas de deux partner or dance master, and the suppressed pain that simmers en pointe. But when Robb poses meaty questions--such as why New York City Ballet artistic director and SAB cofounder George Balanchine's protégés remained loyal to him despite his history of paternalism, or if her idea of femininity changed after leaving ballet--there are no clear-cut answers. Even so, Robb provides searing glimpses of life behind the curtain, and captures her appreciation for ballet's "hyperfeminine trappings." This will deepen readers' understanding of the insular world of ballet. Agent: Bridget Matzie, Aevitas Creative. (Feb.)
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Review by Library Journal Review
Robb (Why We Dream) delves into ballet culture and the experience of taking ballet classes in her youth and how it stayed with her and her classmates. She took classes at the School of American Ballet, founded by George Balanchine. Robb interweaves tales of Misty Copeland, American Ballet Theatre's first Black Principal ballerina, and Margot Fonteyn, an iconic figure in British ballet, but she also looks at everyday students who take classes for fun or because they think they can become prima ballerinas. The majority of ballet choreography is by men, while women make up the majority of dancers. The book indicates that sexual politics is key in getting cast. The author captures the ballet world, replete with anorexia and body obsession, and includes a section on Gelsey Kirkland and the struggles she detailed in her memoir Dancing on My Grave. Robb immerses readers in the dance milieu and what sacrifices are made for a beautiful fantasy. There is an extensive bibliography. VERDICT Captures ballet's romance as well as its dark and traumatic side.--Barbara Kundanis
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Review by Kirkus Book Review
A freelance journalist and former ballet dancer reflects on her complex feelings about ballet, femininity, and the female body. Robb, author of Why We Dream, wanted to be a ballerina from the time she was a small child. At age 9, after two rejections, she became a student at the prestigious School of American Ballet. She never joined the ranks of professional ballet dancers, but even as an adult, she found she could not "unlearn the values of ballet" that glorified--and exaggerated--feminine traits such as "thinness…stoicism…silence and submission." The author examines her SAB experiences alongside those of famous ballerinas, many of whom worked with SAB founder and unofficial patron saint, George Balanchine. Famous for bringing athleticism to ballet, he also exercised strict control over every aspect of his dancers' lives. Robb observes that this structure, though occasionally overbearing, has saved many women--including African American ballet star Misty Copeland--from their own dysfunctional backgrounds. At the same time, ballet's (racist) equation of beauty with Whiteness has also forced female dancers of color to make humiliating compromises--e.g., painting their faces and arms White to just "blend in." The discipline required to dance ballet also offers women "the perverse pleasure of abdicating responsibility," as it inculcates passivity. For example, in the 1940s and '50s, British dancer Margot Fonteyn, for example, allowed herself to be underpaid, and ballerinas like Gelsey Kirkland sacrificed their health to maintain the emaciated physique that ballet--and choreographers like Balanchine--demanded. Still others, including Copeland, sacrificed broken bones, torn ligaments, and other injuries to practice their art. At once a tribute to the art form that shaped her and an exploration of a "beautiful pain cult," this engaging book will appeal to dance lovers and anyone interested in the entangled nature of patriarchy, race, and ballet. An elegantly incisive, meditative work. Copyright (c) Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
