By: Hal C Clarke

The former head of the New York City Ballet, Peter Martins, has remained under the spotlight due to the revelation that he quietly amassed over $2.8 million in payments from the renowned dance organization over a span of four years, even after his departure amidst a torrent of misconduct allegations, NY Post reported.

Records indicate that Martins stepped down from his position as ballet master in chief in January 2018, following allegations of sexual harassment, as well as physical and verbal abuse. Despite these allegations, financial documents reveal that he continued to receive substantial sums from the NYCB.

For the fiscal year ending June 2019, Martins received a substantial payment of $975,273, which included $5,250 marked as “choreographic royalties/fees.” The following year, ending June 2020, he received $626,625, with $2,625 designated for choreographic royalties and fees. The pattern continued, with Martins receiving $624,000 in both years ending June 2021 and June 2022 for services categorized as “choreographer, etc.” Remarkably, these earnings placed him at the top of the list in terms of compensation among all NYCB employees post-resignation, as indicated by the tax documents.

The details surrounding Martins’ additional work or contributions to the organization during this period remain unclear and unverified. While the NYCB did commission an investigation into the allegations against Martins, this inquiry failed to corroborate the misconduct claims made by current and former dancers who had come forward to outlets such as the New York Times and the Washington Post in 2017. The allegations ranged from physically assaulting former principal dancer Heather Watts to incidents involving dancer Kelly Boal and another unnamed dancer. Additionally, an anonymous letter made vague allegations of sexual harassment against Martins at NYCB and its affiliated School of American Ballet, where he held the positions of artistic director and chairman of the faculty.

Despite these allegations, Martins had staunchly denied any wrongdoing in his retirement letter to the board, asserting, “I have denied, and continue to deny, that I have engaged in any such misconduct.” Following his departure, the NYCB continued to stage Martins’ adaptations of classical ballets like “Swan Lake” and “The Sleeping Beauty,” among others.

Some have argued that Martins should receive royalty payments whenever the NYCB presents his productions, which may involve some artistic input as per contractual agreements. However, concerns have arisen about the staggering amounts he has received. John Clifford, a former NYCB principal dancer who witnessed one of the alleged assaults, expressed surprise at the size of Martins’ royalties, stating, “The amount they’re paying him, if it’s just for royalties, is unheard of. Not even Balanchine ever received royalties like this.”

The revelation of the millions funneled to Martins after his departure has triggered outrage among current and former dancers at the NYCB. Many find it deeply troubling that someone facing allegations of sexual assault and misconduct continues to be financially associated with the organization where the alleged actions occurred. One veteran NYCB dancer criticized the situation, highlighting that Martins has not taught classes or been involved in the studio since his departure. This has led to a broader conversation about accountability and financial compensation in the world of performing arts, particularly when allegations of misconduct are involved.