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.
Continue ReadingWorld-class review of ballet and dance.
The show starts outside the theater. A car, with its right rear window busted out, pulls up, music blaring, bass turned up. A burly, formidable man exits the driver’s seat, opens the trunk, and props himself casually against the passenger-side door. From the trunk, Sati Veyrunes emerges. Veyrunes is small, spunky, and elfin—she parts the crowd as she begins to perform, channeling the music as though possessed. Veyrunes holds tension in her body almost like electricity—she melds with the beat like one does at 2 am, surrounded by strangers, everything enhanced by a (perhaps synthetic) euphoria. At times, Veyrunes’ eyes roll back in their sockets, her eyelids flickering, as though the music and the movement are allowing her to transcend her earthly body.
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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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