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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“Project 7,” choreographer and director Kylie Thompson revealed, was the working title of her new piece, named for the seven dancers of her eponymous pick-up company. On the meaning of the ultimate title, “33/33,” she was less forthcoming, hinting only at numerology as a driving theme. In the post-performance chat, lighting and projection designer, Simon Clemo reminded us: “Everything you need to know about the work is contained in the work,” his words and designs taking cues from the Russian avant-garde, and the Suprematism movement of 1930s.
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Kylie Thompson Dance performing “33/33.” Photograph by E. S. Cheah Photography
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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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