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.
Rambert's latest touring production is a slippery thing, with all the fragmentary structure of a fever dream and featuring enough dark imagery to induce night sweats. Inspired by Pedro Calderon de la Barca's 17th century baroque play, the original narrative focused on a Polish prince who is imprisoned by his father, only to escape for one day and see the perspective of another world. Danish born, Britain-based Kim Brandstrup's meta choreography uses this as a jumping off point. Here, he taps into the many hidden layers of the subconscious, the activity of the mind in its dreamlike state. This is both blessing and curse, as the elusive quality which governs the piece makes it hard to warm to—initially, at least.
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Rambert perform “Life is a Dream” by Kim Brandstrup. 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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