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.
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English National Ballet has spent recent months fighting off rumours about its cohesion, or purported lack thereof, under Tamara Rojo’s leadership; whispers have abounded alleging a hostile environment and a worrying degree of turnover, with around a third of ENB’s dancers having left the company in the last two years. That said, the company’s latest bill betrays no signs of such disquiet, presenting a troupe that looks assured, energetic and game to try its hand at a an increasingly diverse array of styles.
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Erik Woolhouse in “Playlist (Track 1, 2)” by William Forsythe. Photograph by Laurent Liotardo
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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.
Continue ReadingThe 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.
Continue ReadingI 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.
Continue ReadingLast 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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