I ran into one of her small projects at a gallery event once, and it made me see how Melanie Hamrick operates: she takes ballet training and the vocabulary of big-company rehearsal rooms and then invites other artists to remix that vocabulary. In performance contexts she’s worked alongside leading choreographers—people like Alexei Ratmansky and Christopher Wheeldon—by performing and refining their works, which is a form of creative collaboration in itself because dancers’ interpretations feed back into the piece.
When she moved into making choreography and participating in cultural projects, her circle widened. She’s collaborated with musicians and creative directors on pieces that feel just as much about sound and image as they are about steps. She’s also teamed up with photographers and stylists for editorial projects, and with set or costume designers for staged works. I appreciate that blend: it keeps the classical technique relevant and lets contemporary artists borrow some of that discipline for different formats. If you want to dig deeper, looking at program notes for pieces she choreographed or guest-staged will usually list the specific artists involved, which is always a fun rabbit hole to go down.
I’ve followed Melanie Hamrick’s career for years, and one thing that always stands out is how fluidly she moves between worlds—classical ballet, contemporary choreography, and the visual/music scenes. Early on she was mainly known for performing repertoire at the company level, which meant working closely with major choreographers whose pieces she danced and helped shape in rehearsal. Names that come up a lot in that context are Alexei Ratmansky and Christopher Wheeldon—people who create work at the scale of big companies, and she learned and adapted their movement languages onstage.
As she transitioned into choreography and creative projects, her collaborations broadened. She’s done creative work that connects dance with music and fashion, often involving photographers, costume designers, and musicians in cross-disciplinary shoots and presentations. Her personal relationship with a prominent rock musician has also led to public creative exchanges, interviews, and projects that blur the pop/modern-art line, so she’s not just collaborating inside a studio but also in broader cultural spaces. If you’re curious about specifics, look for her choreographic credits and guest stagings—those listings usually show the designers, composers, and directors she teamed up with, which gives you a clearer map of her artistic network.
I’m a bit of a dance nerd, so I notice the small collaborations: Melanie Hamrick came up through big-company work, so she’s collaborated repeatedly with major choreographers and the production teams who bring those ballets to life. Later she branched into choreography and interdisciplinary projects, working with musicians, photographers, and designers to present dance in magazines, galleries, and special performances. Her personal and creative connection with a famous rock musician has also led to public collaborative moments that mix pop and ballet. In short: choreographers, composers/musicians, visual artists, and fashion/photography teams are the main people she’s teamed up with, depending on the project and setting.
I like to think of Melanie Hamrick as someone who grew up inside a big ballet ecosystem and then started reaching out to other kinds of artists. During her performing years she worked on-stage with a range of established choreographers at American Ballet Theatre, which naturally involves close collaboration with set and costume designers, conductors, and répétiteurs who help get new works on their feet.
After stepping back from full-time dancing she began creating her own pieces and projects, which brought in photographers for publicity and editorial spreads, musicians for live or recorded scores, and visual artists for staging and multimedia elements. She’s also had creative intersections with a well-known rock musician in her life, which has made some of her projects feel more pop-culture-facing than purely dance-world. In short, her collaborations span choreographers, designers, composers, photographers, and musicians—basically anyone who helps bring performance ideas to life.
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Her Three Wicked Mates
Author Julian
10
5.4K
For seven years, Elara has been on the run. Moving every few months, hiding her powerful witch blood, and shielding her younger brother, Orion, has become her miserable existence. The only thing she knows for sure is that her luck is fading. When an anonymous, blood-written note forces her into the fastest escape of her life, she is suddenly abandoned by the one person she swore to protect. Alone and vulnerable, she falls straight into the clutches of the most dangerous, wicked males in the supernatural world.
Kaelen, Lysander, and Xavier are the ruthless lords of the Penumbra Syndicate, a Fae, a wolf shifter, and a vampire. They are cursed by an enchantress to find their one true love before a magical hourglass drains the last of its red liquid, condemning them to eternal torment. They are convinced the beautiful witch they’ve captured is the very woman who hexed them.
Chained in their opulent mansion, Elara fights for her life even as she’s overwhelmed by a searing, impossible attraction to her three captors. As the clock ticks down, the men must decide: is Elara the wicked enemy who ruined their lives, or the fated soulmate who can finally save them all?
Kayla, a shy and introverted music major, is starting her first year of college with a mix of excitement and fear. With a scholarship in hand, she is finally able to pursue her passion, but she finds herself completely alone. Having bounced from foster home to foster home, Kayla never really belonged anywhere. Her unique colored eyes made her the target of teasing, and years of trauma have left her struggling with anxiety and PTSD. Her past has kept her from forming meaningful connections, and the idea of love and support feels like an impossible dream.
Meanwhile, three powerful mafia kings—known as 'The Kings'—are on a mission. These blood brothers, triplets bound by a pact made in their youth, have searched tirelessly for their one true queen. Known for their brutal and ruthless reputations, the trio is feared across the world. Despite their many enemies, they have always had each other's backs, and they share everything—everything except the woman they were destined to love. After years of failure in their quest, they decide to take on roles as professors, hoping to finally find the one they've been searching for.
When they meet Kayla, broken and vulnerable, will they be able to heal her heart and help her find the strength to open up? Or has her past scarred her beyond repair? What they don't know is that Kayla's story is more tangled than they ever imagined, and the truth about her origins may be more dangerous than they could ever have predicted.
Jessica Jane is invisible by design.
Quiet, soft spoken, and almost painfully unassuming, she spends her days hidden behind oversized glasses and paint stained hands in her elegant city art gallery. To the people around her, she is simply a gifted but awkward artist, a woman who keeps to herself and pours her emotions into hauntingly beautiful paintings that seem to possess an almost unsettling depth.
Critics call her work raw. Emotional. Alive.
They have no idea how right they are.
Behind the gallery walls lies a secret darker than anyone could imagine. Jessica's masterpieces are not created with ordinary paint. Mixed into every canvas is the blood of the men she chooses as her subjects, men she believes escaped justice, men whose cruelty mirrors the monsters that stole her childhood. By night she becomes someone unrecognisable. Elegant, calculated and merciless, hunting predators who believe they are untouchable.
As her artwork gains international attention and a determined investigator begins noticing disturbing patterns surrounding missing men, Jessica finds herself balancing two identities that are beginning to collide.
Because the closer the world gets to discovering the truth, the more dangerous Jessica becomes.
And buried beneath the blood, vengeance and carefully constructed masks is an even darker question:
Is Jessica Jane delivering justice... or becoming the very thing she has spent her life trying to destroy?
Hannah always knew she was different. A childhood trauma not only made her family aware of her abilities, but it also set her on a path to Gabriel. A man with a past of his own. It doesn't take long for these two to realize that they were destined to find each other, but what does fate have in store for Hannah and Gabriel? Who else is destined to cross their path and at what end?
** Don't Mess With The Rock Chicks Combined book - three stories in one place - Super Sexy Second Chance, Threesome, and BDSM **
Two Way Street, Book One
Emily’s world comes crashing down around her when Owen breaks off their engagement in order to pursue a career as the lead guitarist of a band.
When Owen’s backup singer calls in sick and Emily steps in to save the day she finds herself swept up in a crazy ride to the top of the music industry which might just save her relationship with Owen… or end it completely.
Vice and Victor, Book Two
Vice and Victor have a career plan and romance will have to wait, especially since their idea of an ideal romance, involves both of them and one woman.
After being roofied by her music producer, Mirage is locked into completing another album with her rapist who has been feeding the industry lies about her.
Mirage is not a fragile damsel in distress, she is a pop-rock chick, and she is fighting back.
Raven's Luck, Book Three
When his best friends ask Raven, a PI, to investigate Gregory Holmsworth, the grandfather of their girlfriend, Raven discovers that although on the surface Gregory Holmsworth’s business seems legit, his path has not always been on the right side of the law.
Vixen is the lead singer of a punk band just breaking into the industry and works for Gregory. Whilst Raven has been looking into Gregory, Vixen has been looking into Raven, and she sends him an invitation to meet with her, luring him with the promise of a way into Gregory’s business and secrets.
Vixen has other plans for Raven. She likes pretty boys, and broken things, and she has decided that Raven fits both descriptions to a tee.
All Tamara Jones wanted to do was go on one last solo adventure before starting college at the University of Georgia. Being an outdoor enthusiast, she had just the perfect thing in mind. Tamara had it all planned out, an overnight hike/camping trip through the Great Smoky Mountains. What she didn’t plan on however, was being hunted through the forest by a terrifying unknown predator while also getting caught in a mudslide.
Thankfully, The Alpha of the Red River Falls pack, Elliot Bishop, rescued her from falling off a cliff just in time. He knew it the moment they met, Elliot had found his mate. After a chance encounter with Tamara, so did Luke Dunham, the Alpha of the Huntsman pack.
With Tamara already having to deal with coming to terms that werewolves are real and having two mates that want to start a pack war over her, one sinister threat makes itself known and puts both packs in grave danger.
I’ve been following Melanie Hamrick’s work for a while and I love how she moves between ballet, contemporary projects, and multimedia collaborations. As of mid‑2024, there isn’t a single big, headline-making premiere that everyone’s pointing to — instead, her most visible choreographic activity has been a string of smaller commissions, film/dance collaborations, and projects for mixed-repertory or studio showcases. I keep seeing clips on her social channels of short pieces and rehearsal extracts rather than a single, large-scale world premiere.
If you want the absolute latest, her Instagram and official press releases are the quickest routes: she tends to post rehearsal snippets and premiere notices there first. I personally check her profile and subscribe to dance company mailing lists so I don’t miss when a short film or a new studio-company piece drops. It’s exciting because her work often shows up across formats — stage, camera, and curated festival programs — so staying tuned to social updates is the best way to catch the newest thing she’s choreographed.
I grew up obsessed with watching dancers move before I could even name their steps, so Melanie Hamrick’s story always felt like one of those small victories I cheer for. She was born and raised in Williamsburg, Virginia, and started training seriously as a kid — the kind of early grind where classes, barre, and auditions dominate weekends. Her formative training included time at the Kirov Academy of Ballet in Washington, D.C., which is known for its strong Vaganova-based curriculum. That rigorous foundation explains the clarity and musicality she’s always carried on stage.
In the mid-2000s she joined American Ballet Theatre’s company and spent many seasons performing a repertoire that mixed classical story ballets and contemporary pieces. Along the way she developed a reputation not just as a technically solid dancer but as someone with an expressive sensibility that lent itself to choreography. After the birth of her son in 2016 she shifted energy more toward creating — choreographing projects, teaching, and balancing motherhood with a creative life. I find her path inspiring because it shows how a performer can quietly pivot into new roles without losing the artistry that made them special in the first place.