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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Big leaps, big smiles, big energy—Carlos Acosta’s new “Don Quixote” for Birmingham Royal Ballet does its darndest to capture the larger-than-life spirit of Petipa’s nineteenth-century classic. There are glittering costumes, merry character dances, silk fans swizzling, flamenco-style. There’s no runaway windmill, like in the 2013 version Acosta mounted for the Royal Ballet, but Tim Hatley’s starburst stage design sports its own wow factors, including a luscious velveteen colour palette.
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Momoko Hirata as Kitri with artists of Birmingham Royal Ballet in “Don Quixote.” Photograph by Johan Persson
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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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