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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Darrah Carr Dance entered the stage like sunlight pouring gently into a sleeping room: a wave of bodies stepping onto an empty stage softly but swiftly conquering the space with exuberance. Seán Curran and Darrah Carr's "Céilí," which premiered in the new state of the art Irish Arts Center in Hell's Kitchen, refers to the Irish word for a house party. The set (by Mark Randall) is an outline of a house, with golden-brown roof beams hanging from above, a window positioned stage right, and wooden benches lining both sides of the stage. A collaboration between the two Irish American choreographers and their companies, "Céilí" is a joyful celebration of community.
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Seán Curran and Darrah Carr's "Céilí." Photograph by Nir Arieli
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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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