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.
Russell Maliphant’s latest mixed bill is an ode to the art of stage lighting and its uncanny power to charge a performance atmospherically. Under the direction of award-winning designer Michael Hull, the scenic ether of “Still Current” transforms from frantic to serene, intense to halcyon, the performers roving their way through shadowy pathways and flickering swathes of luminosity in search of something brighter. That’s not to say the dancing takes a back seat in this performance, however. The movement on display here is lovingly crafted and consciously centred, drawing its vigour from within and pitching it outwards to electric effect.
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Russell Maliphant's “Still Current.” Photograph by Warren du Preez and Nick Thornton Jones
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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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