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.
Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats. America’s oldest troupe (the MGDC turns 100 in 2026, but they are already partying hard) has gotten in on the recent Black cowboy craze and I am here for it. On Saturday night at City Center, Lloyd Knight starred as a hunky square dance caller and Jamar Roberts set his electrifying new protest dance to the music of Rhiannon Giddens—who is fresh off her commercial success playing banjo on Beyoncé’s “Texas Hold’em” track. The first chapter in the Graham Company’s centennial celebration is titled “American Legacies,” and they put on a superb and refreshingly diverse Americana-inspired show. Although there wasn’t a dance by Graham on the triple bill, her spirit was very much present.
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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.
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