This book is basically "The Red Shoes" meets "A Chorus Line" or the love-child of Jackie Collins and Harold Robbins, a behind-the-scenes expose of ballet life: ambition, manipulation, back-stabbing, love affairs and friendships gone sour ... and it's really good.
( Read more... ) I think where it really scores, at least for me, is the three-dimensional even-handedness with which it handles the characters - the novel opens in Steph's point of view and she is probably the nearest thing we have to a main protagonist, but we get a moment of revelation where pretty much everyone is concerned in which we see the world through their eyes and understand that they are doing what seems to them the right thing where their own values are concerned.
For the older generation, there are still memories of the Nazis and the Second World War - for the very oldest, the Russian Revolution still echoes, and the lost age of Imperial ballet. Marius Volmar is a 'sacred monster' along the lines of Boris Lermontov (and very probably based on the same real-life model) who deliberately manipulates both Steph and Chris for his own ends, but he does it not because he is a sadist but in a quest to restore a long-lost Tchaikovsky ballet scene which for him is the Holy Grail, a device that in fact forms the framing structure for the entire plot.
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