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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The 25th of April is an important day for Australia and New Zealand—it is Anzac Day. It is a day where two countries come together and acknowledge the suffering that our servicemen and women have endured. This year, however, Anzac Day was quite different. There were not the usual migrations, no congregations and even the shores of Gallipoli—normally filled with thousands of visitors—were bare. Instead, people decided to commemorate at home. They lined their driveways at dawn and waited for the Reveille to play through the radio.
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RNZB in Andrew Simmons' “Dear Horizon.” Photograph by Ellie Richards
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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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