Sunday, February 11, 2018

The Pas de Deux is HERE


Drum roll, please — IT'S HERE! The Pas de Deux: A Classical Ballet Romance has just been released on my parents' 46th wedding anniversary.

This, to me, is the best thing I've written, and I don't say that lightly. It's my third novel, which means that, after relentless study and application of the craft, I'm better than I was before. Moreover, I got lucky creatively as my themes and plot coalesced beautifully, poignantly. Inspiration is a slippery muse, but it shone its fickle gaze on me here.

And, if my word isn't enough, someone who rated The Piece one star on Goodreads bought The Pas de Deux as soon as it was released, read it all the through, and gave it four stars!

Paperback and ebook available 


Friday, December 8, 2017

VOTE: "The Pas de Deux" is on Kindle Scout



My new novel, The Pas de Deux: A Classical Ballet Romance, is on Kindle Scout until January 5, 2018. You can read an excerpt, check out my competition, and find out why I think the romance genre is the perfect embodiment of the Hegelian dialectic by clicking HERE.

For what it’s worth, this is the best thing I’ve written this year, and I’ve written some things (like this, this, and this) that I — even with my perfectionism and self-doubt — thought were pretty good. 

Also, visit me here to see what I've been up to this fall. 


Sunday, September 10, 2017

RELOCATING

In the interest of streamlining my dual interests of dance and writing, I've relocated my blog to my personal website. I started it five years ago to practice the art of dance criticism. Over the last few years, it hasn't been much more than a dumping ground for my professional reviews and previews. I hope to change that with the occasional post dedicated to my I-don't-know-what-yet musings. 

Please visit me there to see what I’ve been up to or on Twitter @erinbomboy

You can also find me at The Dance Enthusiast.


My two novels are available for purchase and my third, titled The Pas de Deux, will premiere in 2018. Please click here for more information.



















Wednesday, August 9, 2017

IMPRESSIONS: Ballet Festival at The Joyce with Emery LeCrone, Claudia Schreier, Jeffrey Cirio, Gemma Bond, and Amy Seiwert

Gemma Bond's Then and Again at The Joyce Theater. Photo by Rod Bravman. 

Tradition exerts a strong pull. When the future looms opaquely, relying on proven methods is understandable, prudent even. Yet traditions must expand to accommodate new ideas. Otherwise, they calcify, existing because they’ve always existed, not because they’re relevant to the here and now.

In dance, ballet can stand for tradition. And what a tradition it is, filled with swooning beauty and technical wizardry. But audiences diversify and attitudes evolve and ballet must reflect that while still staying, discernibly, ballet. Choreographers of ballet have the exhilarating — and daunting — mission of choosing what to add, subtract, or preserve.

The Joyce Theater celebrates five clearly articulated visions with Ballet Festival. Designed to introduce audiences to choreographers who create work outside of large companies, the twelve-day event features four women and one man — a refreshing ratio in a world where the choreographers are overwhelmingly male.

Three choreographers receive their Joyce debut (Claudia Schreier, Jeffrey Cirio, and Gemma Bond) while two return (Emery LeCrone and Amy Seiwert). Regardless of their experience, all believe in the relevance of ballet to the 21st century. The question is . . .

To read the balance of my review, please visit The Dance Enthusiast.

Monday, July 10, 2017

IMPRESSIONS: Jody Oberfelder Projects’ "The Brain Piece"

Hannah Wendel, Pierre Guilbault, and Mary Madsen in Jody Oberfelder's The Brain Piece at New York Live Arts. Photo by Christopher Duggan.

Every day, beneath our skin, a delicate ballet performed by our organs unfolds. Working with each other and independently, these body parts keep us alive and in pursuit of life. Yet their processes can remain unfamiliar, even unnoticeable, to us.

Choreographer Jody Oberfelder has been on a kick bringing these biological structures to the stage. After studying them intensely and dialoguing with experts, she creates a dance that explores an organ’s real and metaphorical form and function.

Several years ago, she premiered 4Chambers, a site-specific immersive performance dedicated to the heart. The experience, equally exhilarating and discomfiting, allowed a small audience to follow dancer-docents through four “chambers” and two “arteries.” Each space required participation, whether it be dancing with a performer or answering deeply personal questions.

Now she’s back with The Brain Piece, which received its debut at New York Live Arts. Unlike 4Chambers’ almost claustrophobic linkage of person to material, The Brain Piece is . . . 

To read the balance of my review, please visit The Dance Enthusiast.