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.

Monday, June 26, 2017

IMPRESSIONS: American Ballet Theatre's "Whipped Cream"

Alexei Ratmansky's Whipped Cream for American Ballet Theatre. Photo by Gene Schiavone.

Are you the person who orders dessert first, sugar and spice and everything nice your vice of choice? If so, American Ballet Theatre has just the treat for you. Whipped Cream whisks together choreography by Artist-in-Residence Alexei Ratmansky with a little known score and libretto by Richard Strauss and fanciful sets and costumes by Mark Ryden.

Whipped Cream charmed California during its world premiere in March before receiving its New York debut in May. If you missed it, a week’s worth of performances will occur at the end of June as part of ABT’s season at the Metropolitan Opera House.

Like many story ballets, the illogical plot exists solely to . . .

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

Wednesday, June 21, 2017

IMPRESSIONS: Armitage, Buglisi, Monte, Muller LIVE!

Ahmaud Culver and Megumi Eda in Karole Armitage's Walls with costumes by Alba Clemente. Photo: Peter Speliopoulos.

Festivals feel like the dance version of a cocktail party. Chockablock with short pieces and myriad viewpoints, they afford audiences the opportunity to get acquainted with usually emerging choreographers in a convivial environment.

But what if you knew all the choreographers, were familiar with their aesthetics? Well, then it becomes a feast, filled with substantive fare that makes you yearn to spend more time with each artist.

For five days in June, four lauded and long-on-the-scenes companies take the stage at New York Live Arts with six works by five choreographers. While the hallmarks of a festival — diversity, brevity — are on display, as a whole, the show acts as a testament to the power and ingenuity of female artists.

Choreographer . . .

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