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Getting into a true holiday spirit can be tough in South Florida, where palm trees, expansive beaches and balmy skies signal perpetual summer. Ever-earlier store décor and the incessant push to buy presents – more about commercialism than celebration – can make many of us feel more anxious than festive. Not to worry. Just squeeze in a trip to Miami’s Arsht Center, where City Theatre h..

One of the centerpieces of this year’s Art Week is not a static art work, and it is also one of the most sensuous and disorienting. Lebanese performance artist Tania El Khoury is producing her “Gardens Speak” for the week, courtesy of MDC Live Arts, a piece that has been applauded in cultural capitals throughout Europe and the United States. “It is a work,” she says, “that can only co..

Since its founding in 1996, City Theatre has been an important part of South Florida’s theatrical landscape, though the company’s visibility has always been highest in the month of June. That’s when its popular Summer Shorts festival takes place; for more than a decade, its high-profile venue has been the Carnival Studio Theater at Miami’s Arsht Center. Though the company founded by S..

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Dimensions Dance Theatre of Miami se anota un triunfo con “Light Rain”

Photo: Gabriela Mesa y Fabian Morales en “Light Rain” de Gerald Arpino; fotógrafo: Simon Soong.
Written by: Orlando Taquechel
Article Rating

El programa que Dimensions Dance Theatre of Miami (DDTM) presentó el sábado pasado en su exitoso debut como compañía en residencia del South Miami Dade Cultural Arts Center (SMDCAC) y a solo unos días de celebrar su primer año de existencia, resultó ser un acierto mas en el proceso de definición del tipo de entrega que sus directores artísticos, Jennifer Kronenberg y Carlos Guerra, han conceptualizado para el grupo.

DDTM es un proyecto interesado en ofrecer un producto artístico variado y popular (crowd-pleaser es la expresión en inglés) con obras de grupo de ballet contemporáneo que muestren la vitalidad del conjunto, piezas (dúos, tríos) para mostrar el estilo de sus solistas, algún material especial para los propios Kronenberg y Guerra (dos intérpretes de larga trayectoria y muchos seguidores que reclaman su presencia en escena), un pas de deux para los amantes de lo académico y la inclusión de música en vivo con artistas en escena.

En la función que reseñamos las obras de grupo que abrieron y cerraron la noche fueron “Bliss” de Jerry Opdenacker y “Light Rain” de Gerald Arpino. Kronenberg y Guerra bailaron “Piazzola x 6” de la coreógrafa cubana Tania Vergara, compartiendo el escenario con el cuarteto de tango de Anibal Berraute, y el pas de deux “Una Danza Para Ti” del venezolano Vicente Nebrada (1930-2002) estuvo a cargo de Josue Justiz & Mayrel Martinez acompañados por el pianista Karl Moranski.

Hay una característica que le adiciona atractivo a la manera de hacer de DDTM: la mayor parte de sus integrantes son cubanos – como Guerra - y eso se nota. Mayrel Martínez, Yaima Méndez, Claudia Lezcano y Gabriela Mesa entre las mujeres. Sin olvidar a la cubanoamericana Diana Figueroa. Josue Justiz y Fabián Morales entre los hombres. Todos son ejecutantes con un excelente nivel técnico e intérpretes que se entregan con franqueza seductora admirable al disfrute del sensualismo caribeño transformado en rubato.

El logro de DDTM es poder apreciar como una manera de hacer tan idiosincrásica como la cubana se mezcla con la energía venezolana de Kevin Hernández y la teatralidad norteamericana de bailarines igualmente espléndidos como Trisha Carter, Chloe Freytag, Stephan Fons, Yanis Eris Pikieris y, en esta oportunidad, el estatuario Daniel White, artista invitado del New York Dance Project.

En este contexto, hay que reconocer la belleza de Yaima Mendez envuelta en blanco en “Bliss”, un trabajo que no resultó ser una experiencia lograda del todo aún contando con el buen trabajo de pareja de Josue Justiz y Diana Figueroa, Stephan Fons y Chloe Freytag y Fabián Morales y Gabriela Mesa en tres duetos que despiertan algo de interés.

Después de un primer intermedio, Kronenberg y Guerra disfrutaron con sofisticación histriónica irreverente del tango en puntas de Vergara y la gentileza de Josue Justiz y Mayrel Martínez subrayó la delicadeza del neoclasicismo de Nebrada.

Pero la noche estaba destinada a pertenecer por completo al exótico “Light Rain”, incluyendo una estruendosa ovación de pie inacabable al final.

Trisha Carter, Chloe Freytag, Daniel White, Diana Figueroa, Kevin Hernández y D'Angelo Castro (apenas aprendiz con la compañía) fueron solistas espléndidos y Cameron Basden (a cargo del montaje), Fabian Morales y Gabriela Mesa consiguieron logros individuales de excepción.

La coreografía de Arpino (1923-2008) es una referencia obligada dentro del ballet contemporáneo norteamericano del siglo XX. Basden formó parte de su elenco original en 1981 y su trabajo esmerado con DDTM es prueba fehaciente de lo importante que resulta trasmitir repertorio de generación en generación por aquellos que lo conocen de cerca.

Pero el estreno de “Light Rain” por DDTM será también recordado por haber facilitado la revelación de Gabriela Mesa como una bailarina alucinante y de Fabian Morales como un partenaire sin mancha ni defecto.

“Light Rain” es una obra de grupo con oportunidades de lucimiento para todos y un vehículo estelar para dos bailarines electrizantes como Mesa y Morales, dispuestos a entregarse con aplomo y complicidad a la sensualidad de la imaginería erótica de Arpino y al trazo de situaciones físicas extremas manteniendo al público hipnotizado durante todo el trayecto. Definitivamente, “Light Rain” debe marcar un antes y un después en la carrera de ambos.

Esta fue una gran noche para ellos, para Kronenberg y Guerra y un acierto de programación para SMDCAC. “Light Rain” parece haber hecho crecer a DDTM de manera súbita e inusitada y su transformación es el acontecimiento del año de la danza en Miami.

 


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