Wicked Moves with Christopher Scott
Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her temple.
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Until American Ballet Theatre’s premiere of Christopher Wheeldon’s “Like Water for Chocolate,” my first thought upon leaving a ballet gala had never before been: “well that was hot.” ABT has found its new Valentine’s Day programming. Debbie Downers “Romeo and Juliet” and “Swan Lake” can take a rest. Spoiler alert: the star-crossed lovers in “Like Water for Chocolate” also perish together in the last scene, but the effect is, well, different. After decades of longing, Tita and Pedro are finally free to consummate their desire, and their love is so profound that at the point of climax they erupt in flames—their bed beautifully engulfed in fiery projections by Luke Halls. Though their earthly bodies are lost to the conflagration, their souls ascend to an astral plane, united for all eternity. Principal dancers Cassandra Trenary and Herman Cornejo, nearly nude, floated up into the clouds in a Kama Sutra-like tangle as the curtain fell. Ahem.
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Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her temple.
Continue ReadingThe Sarasota Ballet does not do a “Nutcracker”—they leave that to their associate school. Instead, over the weekend, the company offered a triple bill of which just one ballet, Frederick Ashton’s winter-themed “Les Patineurs,” nodded at the season.
Continue ReadingI couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
Continue ReadingLast week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
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