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.
Continua a leggereWorld-class review of ballet and dance.
At the Kier Choreographic Award semi-finals my shoes cut loose. At the Kier Choreographic Award semi-finals, independent of me, that is, my shoes cut loose. Lobbed by an enthusiastic audience member, relishing their liberty, my left shoe, it flew across the dance floor, airborne and free. It landed with a thud. The right shoe, it was a log that tripped another audience member mid-dance, before it transformed from obstacle into a fish flipping on land. My shoes, free of me, had the night of their lives, I expect. And when it came time to collect my shoes from the stage, I thought, yes, I am at the Keir Awards at Dancehouse. (In truth, I also thought, why did I wear my new shoes tonight? I’d spent the day treating them like a newborn kitten.) Spread over two nights, four different works presented on each, the brilliance of the unexpected hit me in the heart. Moo like a cow on one, jangle your keys on two, applaud on three, shake it all about. This hokey pokey was the creation of Lee Wilson and Mirabelle Wouters (Branch Nebula) and the invitation to explore the uncharted was lapped up by my chattels a little more than it was by me. Branch Nebula’s “Stop-Go” toyed with their definition of performance being “in essence, just one thing after another,” [note] Lee Wilson and Mirabelle Wouters, Branch Nebula, “Stop-Go” program notes, Dancehouse, Melbourne, Victoria, March 6, 2018.[/note] and the audience, furnished with different sets of printed prompts (which had been left on each seat) when asked at timed intervals (at 01.45 to 02.00 “Pass all shoes to the right” / ”applaud for 15 seconds”) were indeed “foregrounded throughout the performance.”
Nana Biluš Abaffy's “ChoreoGraphic” at the 2018 Keir Choreographic Award, Dancehouse. Photograph by Gregory Lorenzutti
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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.
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