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.
In the unlikeliest of places—Miranda July’s erotic perimenopause novel, All Fours—I came across a fabulous piece of dance writing:
When he leapt and turned in the air like that it was ecstatic and obsessive—he did the move again and again like some kind of endurance art and it only became more exactly the truth the longer he did it. He was pouring sweat. I was entirely known and I thought: This is the happiest moment of my life. And with that sentence came tremendous sorrow because nothing was more fleeting than a dance—dance says: joy is only now. So I gave up on everything but now. Every opinion and judgment I had ever had, my entire past including my child and husband and parents, my future, my career, my eventual death—I let all of it go. Or I did nothing, for once. I just watched the dance.
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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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