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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Choreography, for many, is a mystical art, and one that needs bodies on which to create movement. So, when the pandemic forced a lockdown in 2020, Alonzo King, artistic director and co-founder of the San Francisco-based Alonzo King Lines Ballet, did what he does best, albeit under far different circumstances: He worked inside the troupe’s studios, but in confined bubbles; he sculpted his dancers’ bodies outside at Golden Gate Park; and, among other places, he fashioned forms on a farm in Arizona, all in order to build work for the company’s 40th anniversary.
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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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