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Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..

Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..

Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..

“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..

Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

Steven Levenson’s “If I Forget” began its Off-Broadway run a year ago, closing just six weeks before the now 33-year-old playwright won the Tony Award for writing the book of the acclaimed musical “Dear Evan Hansen.” Cut to February 2018, and South Florida already has its own exquisite production of “If I Forget,” thanks to GableStage artistic director Joseph Adler. Levenson’s fun..

In a career that continues to soar two decades after his first play was produced, Michael McKeever has premiered his dramas, comedies and short plays at theaters all over South Florida. Nearly always, he’s involved in those productions as the author, sometimes as an actor, at times as a set designer. The plays get their start here, then go on to productions (sometimes multiple product..

When M. John Richard decided to leave the New Jersey Performing Arts Center in late 2008 to become president and chief executive officer of Miami’s Adrienne Arsht Center for the Performing Arts, he arrived in South Florida with a vision, myriad ideas and a long-term exit strategy. “I knew in 2008 that I had a 10-year run in my tank,” says Richard, 65, who plans to retire from his Arsh..

M. John Richard has never hung back from the challenges that shape a life. Not when a knee injury ended his dreams of playing football at Syracuse University. Not when he was persuad..

For many choreographers, a new project is an opportunity to dig into fresh ideas. But for local choreographer Pioneer Winter, his latest work “Reprise” returns to the same terrain he has been..

There are few shortcuts for anyone hoping to make it in ballet, but for black dancers that road has always been particularly arduous. A lack of access to training, scant rewards, and cultura..

For sheer pageantry, there are few dance companies that can rival the Ballet Nacional de España. In its 40th season, with 40 dancers and 11 musicians, Spain’s effusive, no-holds-barred love l..

When the Alvin Ailey Dance Theater returns to town this week, Miami native son Jamar Roberts will take center stage. As one of the company’s star dancers, he has long shined as a performer. B..

He says his dance comes from his dreams. French-Algerian choreographer Hervé Koubi’s most recent work, “What the Day Owes the Night” combines Sufi rhythms with cutting edge b-boy moves, class..

A world premiere always comes with a drum roll. And, throughout the years, Miami City Ballet has brought to light its fair share of resounding new works. Still, Brian Brooks’ freshly-minted O..

Wednesday night at the Arsht Center’s Knight Concert Hall the South Florida Symphony Orchestra in collaboration with the Martha Graham Dance company presented “Appalachian Spring Suite” and “The R..

Cooking may be Dan Froot’s favorite thing. This is saying a lot since Froot is also a composer, a dancer, a sax-player, a play-wright, an oral-historian -- an all-around performance artist an..

Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..

Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..

The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..

It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..

In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..

Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..

Having grown up in Buenos Aires with a strong interest in music, one would think that Jaime Bronsztein ( would have slid down the well-lubricated tracks towar..

A creepy old king ogles his beautiful stepdaughter. Powerless to stop him, her mother, the queen, protests drunkenly. The girl, age maybe 12 or so, falls for the only man who does not lust af..

At first their sound is reminiscent of Bob Marley. Just as plaintive but with added punch. But listen longer -- the more familiar the music feels, the harder it is to pin down. This is t..

6 razones para ir a ver Alvin Ailey

Photo: Las bailarinas de AAADT en Shelter de Jawole Willa Jo Zollar. Fotógrafo: Paul Kolnik
Written by: Orlando Taquechel
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Después de una serie de actuaciones muy exitosas en varias ciudades del Este del país, Alvin Ailey American Dance Theater (AAADT) llega a Miami para ofrecer seis presentaciones del jueves 22 al domingo 25 de febrero en el Arsht Center for the Performing Arts. Esta es la única parada en el sur de Florida en la gira 2018 de la compañía que abarca 21 ciudades.

El regreso de AAADT al Arsht Center – este año por décima vez - es siempre un acontecimiento y aquí están 6 razones por las que hay que ir a verlos.

RAZON 1: AAADT es una compañía estandarte de la cultura norteamericana.

Designada por el Congreso en 2008 como “embajador cultural vital de América para el mundo”, AAADT es una agrupación de danza moderna con sede en Nueva York que fue fundada en 1958 por el coreógrafo y bailarín Alvin Ailey (1931-1989), icono de la cultura afronorteamericana.

La compañía ha actuado para millones de personas en los Estados Unidos y en más de 70 países. Cumpliendo este año su aniversario número 60, AAADT es una de las agrupaciones norteamericanas más queridas y respetadas del mundo.

RAZON 2: AAADT tiene una conexión especial con Miami.

Un muchacho nacido en Liberty City que estudió en la New World School of the Arts antes de graduarse en la Juilliard School en 1994 es el director artístico de AAADT desde julio de 2011. Su nombre es Robert Battle.

Battle ha creado además muchas obras para la compañía como coreógrafo. Uno de sus trabajos más apreciados es The Hunt, que forma parte del programa a presentarse el sábado 24 a las 8 p.m. y el domingo 25 a las 2 de la tarde. Otras dos obras de Battle (Mass y Ella) completan las entregas del jueves 22 en la noche y el sábado 24 a la dos de la tarde.

“The Hunt es una pieza que muestra el notable talento de los bailarines masculinos de Ailey” -- Hanna Oldsman, California Literary Review, 2010.

RAZON 3: Es la oportunidad para ver los dos estrenos mundiales más recientes de AAADT

El primero es Members Don’t Get Wearyde Jamar Roberts, también nacido en Miami y bailarín de larga trayectoria con AAADT. Este es su debut coreográfico en la compañía y tiene música de John Coltrane.

“(…) Roberts tiene buen oído, y sus bailarines capturaron el cuestionamiento inefable en el jazz, sus caminos sinuosos y su sentido último de libertad espiritual” -- Sarah L. Kaufman, The Washington Post, 2017.

El segundo estreno es del coreógrafo español Gustavo Ramirez Sansano. Se titula Victoria y utiliza la composición "Rewriting Beethoven’s Seventh Symphony" de Michael Gordon (otro miamense).

Para ver las dos obras habrá que ir al Arsht Center en días diferentes. Members Don’t Get Weary se presenta el jueves 22 a las 8 p.m. y el sábado 24 a las dos de la tarde. Victoria solo se presenta la noche del viernes 23.

RAZON 4: Es la ocasión para disfrutar con nuevas producciones de obras favoritas de siempre.

AAADT trae nuevas producciones de Shelter (que data de 1988 y fue incorporada al repertorio en 1992) con coreografía de Jawole Willa Jo Zollar e interpretada solo por mujeres (la música es deJunior "Gabu" Wedderburn) y de Stack-Up (1982), coreografía de Talley Beatty con música de Earth, Wind and Fire, Grover Washington, Jr., Fearless Four y Alphonze Mouzon.

Shelter es “una poderosa declaración sobre la falta de vivienda y el desplazamiento [que] habla de manera significativa del presente” (Siobhan Burke, The New York Times, 2017). Por su parte, “la historia de inocencia perdida creada por Beatty es tan fresca como si fuera contada por primera vez” (Jennifer Dunning, The New York Times, 1983).

Shelter podrá verse el sábado 24 a las 8 p.m. y el domingo 25 en la tarde. Un fragmento de Stack-up se presentará el viernes 23 a las 11 de la mañana en una función especial para estudiantes y podrá apreciarse completa ese mismo día y el sábado 24 en funciones a las 8 p.m. y el domingo 25 a las 2 de la tarde.

RAZON 5: Es la coyuntura ideal para conocer de cerca a los bailarines de la compañía

El sábado 24 a las 2 de la tarde, tras interpretar Mass, Ella, Members Don’t Get Weary y Revelations, los bailarines saldrán a escena una vez más para una sesión de preguntas y respuestas con el público presente.

RAZON 6: Es el pretexto para dejarse conquistar por “Revelations”… una vez más.

Una de las cosas que distingue a las presentaciones de AAADT es que todos sus programas cierran con Revelations, una obra estrenada en 1960 y un clásico de la danza moderna norteamericana, la obra maestra de Alvin Ailey y la pieza de danza moderna más vista en el mundo.

Revelations es un trabajo hermosísimo que conmueve de igual manera la primera vez como la más reciente. Revelations por si sola justifica la visita al Arsht Center pero hay que tener en cuenta la siguiente advertencia: no hay forma de evitar convertirse en un apasionado de la danza moderna, o de la danza en general, después de haber visto Revelations. Usted sabe si se arriesga.

Alvin Ailey American Dance Theater (AAADC) presentará 6 funciones con horarios y programas diferentes en el Arsht Center for the Performing Arts del jueves 22 al domingo 26 de febrero. Boletos a la venta en


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