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.
According to artistic director Peter Boal’s welcome letter for Pacific Northwest Ballet’s fifth season program, the most popular mixed rep slates at PNB feature works by Crystal Pite or Twyla Tharp. Well, this San Francisco-based fan sure appreciates their taste up there in Seattle. Boal must reckon himself in a happy place as AD when, to satisfy the local masses, he gets to pair a small, deceptively simple masterpiece by Tharp with a juicy mass spectacle by Pite. In between, Boal placed a short, imagistically powerful solo by the company’s new resident choreographer, Jessica Lang. Released as part of the company’s Covid-initiated digital offerings, it all played beautifully for the screen. Don’t blame a California-based ballet lover for wishing she could transplant the company 800 miles south.
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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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