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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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring. Many audience members inside the War Memorial Opera House wore pastel silk or lace, and adorned their heads with delicate flower garlands purchased from the company gift shop. On stage, the dancers were even more finely arrayed: For this production, artistic director Tamara Rojo borrowed the sets and costumes by Christian Lacroix created for Paris Opera Ballet in 2017. The whole visual package had a feeling of old world, hand-crafted care, not only in Lacroix’s unbelievably detailed second act tutus (white lace on top, pink tulle in a bright rim below), but especially in the hand painted sets with their giant pansies shading Titania’s bower. Most remarkably, none of this upstaged the dancing.
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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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