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.
Though the New York City Ballet’s Spring Gala featured two premieres, the real buzz of the season belonged to the revival of Balanchine’s “Tzigane”—now titled the more politically correct “Errante”—after a 30-year absence. It was created for the high priestess of the Balanchine ballerinas, Suzanne Farrell, during the 1975 Ravel Festival. (The original title was not an ethnic slur then, but language, like choreography, is mutable). Farrell owns the rights to “Errante,” and she came back to stage it for City Ballet’s 75th anniversary season herself. The uber-muse was estranged from the company for a period while Balanchine was alive (“Errante” was the first role he made for her upon her return) and then again after he passed, but relations have thawed in recent years. She has coached a select few of her signature roles, but this personal staging is a giant leap forward.
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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.
Continua a leggereThe 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.
Continua a leggereI 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.
Continua a leggereLast 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.
Continua a leggere
Welcome back Suzanne Farrell, I hope you are staying for a long time.
I was lucky enough to see Farrell’s repetiteur rehearse Domenika Afasenkov in a run-through of the role. Different, but equally stunning. Can’t wait to see her onstage, although I am not sure the ballet comes back in 2024-2025.