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.
The Royal Ballet’s first mixed bill of the 2019/20 season is a snapshot of 1960s British ballet and the polar places it went. Sandwiched between a spare modern creation and a frothy classical revival are bouncy character variations set to a turn-of-the-century orchestral work—slightly mismatched courses, sure, but an interesting snapshot of the company’s mid-century catalogue, plus a chance to see the Royal’s robust solo talent in action.
Performance
Place
Words
Meaghan Grace Hinkis (centre) and Artists of the Royal Ballet in “Concerto” by Kenneth MacMillan. Photograph by Bill Cooper
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
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.
Continue Reading
comments