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.
Michael Keegan-Dolan’s first production with his company Teaċ Daṁsa was a version of “Swan Lake” reworked into a critique of the Catholic church. With “MÁM,” the Irish dancemaker continues to probe the keystones of Irish culture, this time with a more impressionistic lens. The new work glides through a fog of cigarettes and dance halls, intimacy and anguish, craggy sea cliffs and whispers of holy ghosts. Its scope is cosmic and targeted at once, hitching the profundities of existence to the minutiae of everyday life. Mám means ‘mountain pass,’ but it can also refer to an obligation or a handful of treats. The ambiguity sits well with this wild-eyed piece of dance theatre.
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Teaċ Daṁsa in Michael Keegan-Dolan's “MÁM.” Photograph by Ros Kavanagh
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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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