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.
PlusWorld-class review of ballet and dance.
The wavering, crepe paper-thin voice of an old man sings on a loop: “Jesus' blood never failed me yet, never failed me . . . yet, Jesus blood . . . never failed me yet / This one thing, I know, for he loves me . . . . So.” This is the first track of the soundtrack of the delicate, beautiful film Worn, screened through the Byre Theatre St Andrews, and could only be an appropriate choice to open. The heartbreaking track, by composer Gavin Bryars, samples the singing of a homeless man recorded on the streets, a vulnerable man clinging to his faith like a branch in a storm. So too, do the dancers cling, to nuances and to each other.
“Worn” by Errol White and Davina Givan. Photograph by Mihaela Bodlovic
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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.
PlusThe 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.
PlusI 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.
PlusLast 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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