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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Think Medusa and you think snake-haired monster. But there’s a human side to the myth of the petrifying Gorgon: her rape at the hands of Poseidon, a detail that’s routinely forgotten, even though it’s this act of violence that prompts Athena to curse Medusa into beasthood in the first place. Acting out of jealousy, Ovid recounts, Athena “transformed Medusa’s beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone.”
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“Medusa” by Jasmin Vardimon Company. Photograph by Tristram Kenton
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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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