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.
Nobody, but nobody, fuses together pop culture references, storytelling and populist dance quite like the fabulous Matthew Bourne. There is a reason people flock in droves to see his work, including those who are immune to dance's charms—he is simply a master craftsman. He is Britain's best-loved choreographer. This double Olivier Award-winning production is simply superb, and his company New Adventures are at the top of their game. “The Red Shoes” is arguably the most fully-formed production of his career to date.
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Ashley Shaw and Sam Archer in Matthew Bourne's “The Red Shoes.” Photograph by Johan Persson
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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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