From the moment Gonzalez made Mercutio real for me, I was inside the story, experiencing it as if for the first time. I was affronted: the cost of hate was too high, the sacrifice of youth beyond justifiable.
“The biography became, in effect, two stories: one, in which Harss deftly traces the formative patterns of Ratmansky’s distinctive and prolific career, and a second shadow story, in which Harss herself grapples with the unfolding conflict, the changing international landscape of the ballet world, and, most compellingly, the shifting identity of her subject.”
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