Found this on my Kindle, but could not for the life of me remember whether I had read it or not, so I decided to give it another go. Sure enough, the first few chapters were familiar, but I clearly hadn`t made it very far in. On the whole, I`m glad I tried it again. The first few chapters did have their irritations: first of all, there were a great many characters brought in without any sort of introduction, leading to a lot of "Tony, who's Tony?" moments. Secondly, the opening encounter on a train, between a ballet fan, Rosie - and yes, I understood all her Royal Ballet references - and a fictional Cuban superstar danseur did read rather like fanfic. But what unfolded from there was actually quite a nuanced tale of a woman juggling three sexual (or potentially sexual) relationships: her husband, in a strained marriage with a troubled teen son and an autistic younger son; a "pretend lover" - a hospital colleague - with whom the pretend suddenly turns to real; and said ballet dancer, whom she stalks a bit, and then ends up giving piano lessons to - along with the ballet dancer's girlfriend. Most of the novel is devoted to the development of two situations: the unfolding of the affair with the colleague, Ricardo, and the detailing of the breakdowns in communication in her nuclear family, particularly with her teen son Seb. It becomes apparent to us though not to her that Ricardo is a step down from her current husband, though he is somewhat feckless and straying. At least Jez, said husband, does not try to control the heck out of her. Rosie is saved from running off into what no doubt would eventually become a nightmare with Ricardo, not by her ballet-going friend Emma (who is a cheerful enabler), nor by the amiable and casually sexual dancer, Alejandro (though jealousy over Alejandro triggers some of Ricardo's nastier behaviour), but by the untimely death of Seb, whose particular demons neither we nor Rosie fully understand. (He jumps to his death from a pier, but it is not clear whether it's really suicidal or just an avoidable accident in combination with alcohol/drugs). In any case, his death throws the Jez-Rosie marriage back into full gear, and in one final epistolary chapter (Rosie to her now five-years-dead son), we see that she is, by and large, better off, and find out what has happened to the rest of the large cast. That wrap-up isn't as perfunctory as it sounds from my description; in fact, it's some of the best writing in the book and had real emotional punch.
I may be being unfair, but I get the impression that this first novel started off as a bit of a giggle, based on the enjoyable fantasy of running into a ballet god, and ended up somehow turning into a pretty decent novel of relationships. There's potential here.