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.
“Skeleton Song,” by UK-based singer and composer Ana Silvera, is the second song from her BASCA-nominated song-cycle Oracles, released by Gearbox records. Written following an intense period of grief, Oracles was Silvera’s way to transmute her emotions into a cathartic work of art: “I wrote Oracles in a state of absolute urgency and emergency—it felt like I had been buried in the ground myself, and writing this music was a small pocket of air, my chance to breathe again,” Silvera notes. The dance film/video clip was a unique collaboration between Kate Church (dancer, director, choreography) and Alice Williamson (co-direction, costume and choreography), shot by DOP Mats Willand and produced by Stephanie Moon.
Still from “Skeleton Song,” a dance film co-directed by Kate Church and Alice Williamson
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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
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