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.
Not all the reasons to celebrate Zvi Gotheiner’s newest work were immediately visible as the company of seven dancers took to the black box stage at New York Live Arts last week. “Migrations” is the first work Gotheiner has made since suffering a stroke in March 2021. That he is able to choreograph at this stage of his healing process is a credit to his dancers, including associate artistic director Doron Perk, and other longtime collaborators. Also, the announcement that Gotheiner’s long-running Maggie Black inspired ballet class has returned in person to City Center is welcome news to many who for years considered it essential as coffee to their daily routine.
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Zvi Dance. Photograph by Maria Baranova
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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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