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.
There are few dance companies as versatile as Ballet Hispánico. The company, which is the largest Latine/x/Hispanic cultural organization in the United States, prides itself on its far-reaching celebration of the Latinx diaspora with a school that offers training in flamenco, salsa, and Afro-Caribbean, in addition to ballet, jazz, and more. While many major ballet and modern companies are branching out from their specialized styles to include commissioned work in a range of genres, it is rare to find a company like Ballet Hispánico, whose dancers, thanks to their training, can truly execute a diversity of genres comfortably and without compromising the integrity of each style.
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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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