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.
Continue ReadingWorld-class review of ballet and dance.
Let’s make one thing clear upfront: To see a LINES Ballet performance is to partake in wonders beyond measure, to have one’s senses reawakened by the dignity of humanity’s vulnerability, and this is as true now as it has been over many high points of the San Francisco company’s 35 year history. To watch Shuaib Elhassan pause in a pirouette, open-chested and generously alive, in startling harmony with the forces of physics, is life-affirming. To fill your eyes with this miracle while, playing live at the back of the stage, the Kronos Quartet’s richness fills your ears—this is rapture. So it feels ungrateful to report that something seems to go awry halfway through the new Kronos/LINES collaboration, “Common Ground.”
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Shuaib Elhassan and LINES Ballet dancers perform “Common Ground.” Photograph by Chris Hardy
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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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