Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..
Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..
"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..
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 ..
Dimensions Dance Theatre of Miami has been on a trajectory best described as meteoric. In its first 18 months DDTM has been a 2017 Knight Challenge Grant recipient and now will debut at New Y..
Amirah Sackett came up as a dancer in Chicago’s hip hop scene at a time when women were rare in the mostly male community. But she also visibly stood out as a Muslim. She keeps her hair cover..
Inside the Little Haiti Cultural Complex, where Dance Now! Miami is in residence, there is a hub of activity as the company prepares for its performance on Saturday night of Contemporanea 201..
One of the signatures of the National Water Dance project since its inception seven years ago was that dance troupes, large or small, professional or school groups, were free to perform whate..
Miami City Ballet is in league with Russians – in a good way -- and this promises to make a selection of dances look great again. The company’s final program this season brings back Apollo an..
Hidden behind a busy street in North Miami Beach is the Ancient Spanish Monastery, where Dance Now! Miami will bring the past into the present – and back into the past. Ekphrasis describes th..
Sometimes dance seems as easy as walking down the street. John Heginbotham, founder and artistic director of Dance Heginbotham, describes his dancers as moving in an unaffected, natural manne..
On the heels of a year-plus parade of #MeToo confessions, celebrity shamings and women’s marches, comes Marisa Alma Nick’s female-power-packed “A Rebel in Venus.” “It wasn’t planned that ..
Choreographers are usually curious people. Augusto Soledade’s curiosity leads him in many directions, including ideas on Madonna, voguing, and selfies. It all began with “thoughts on identity..
Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..
The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..
The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..
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..
Dance NOW! Miami, la Florida Dance Education Organization (FDEO), Miami Dance Futures y la New World School of the Arts (NWSA) colaboraron el fin de semana pasado para presentar la Daniel Lewis Miami Dance Sampler 2017 y así mostrar la abundancia y diversidad de la danza en el sur de la Florida. En esta ocasión, representada por 11 agrupaciones diferentes.
Dance NOW! Miami fue fundada en 2000 por Diego Salterini y Hannah Baumgarten, la New World School of the Arts abrió sus puertas por primera vez en 1987 y Miami Dance Futures fue formada por Daniel Lewis en 1988 para desarrollar la danza en el sur de la Florida. La Florida Dance Education Organization (FDEO), dedicada al avance de la educación de alta calidad en las artes de la danza, fue fundada en 2003 y es la filial estatal de la Organización Nacional de Educación de Danza (NDEO).
Definitivamente, los organizadores de este evento anual (subtitulado en el programa de mano como "más de 150 años de danza – hecha en Miami") cuentan décadas de trabajo en los quehaceres de la danza y esa experiencia fue evidente en lo que resultaría ser una oferta artística armada con inteligencia e iluminada con eficacia por Joshua Gumbinner que avanzó sin problemas, durante un poco más de dos horas, ante el público interesado y entusiasta que llenó el sábado en la noche el New World Dance Theater de la NWSA en downtown Miami.
Dos de las agrupaciones, Sandra Portal-Andreu y la Association of Performing Arts of India, presentaron estrenos mundiales: el desenvuelto “String Theory” de Portal-Andreu donde lo inmediato adquiere categoría de leit-motiv y la encantadora “Vamam”, danza tradicional teatralizada y dibujada con autoridad carismática por Radha Kotamraju y Reneeta Basu.
Otros tres grupos (el Dimensions Dance Theatre of Miami de Jennifer Kronenberg y Carlos Guerra, Karen Peterson and Dancers y Dance NOW! Miami) ofrecieron fragmentos de obras representativas de su manera de hacer: “Fever” de Vicente Nebrada, “Buoyant Dreams” de Peterson y “Bridges Not Walls” de Salterini & Baumgaten.
La fuerza de los hombres de Dimensions (Fabián Morales, Stephan Fons, Josué Justiz y Kevin Hernández) queda en la memoria como uno de los elementos más llamativos del programa pero el trabajo de pareja de Morales junto a la expresiva Gabriela Mesa lo proyectó igualmente como un intérprete apto para la entrega melodramática. “Buoyant Dreams”, apoyada por imágenes en video de Maria Lino, es un ejercicio de danza integrada que irradia ternura en la ejecución de dos intérpretes de enorme sensibilidad: Marjorie Burnett y Rebecca Pelham.
Por su parte, Adele Myers (de Adele Myers and Dancers) asumió con desenvoltura el rol de cheerleader entusiasta en un solo humorístico extraído de “I love you. Good night”, una obra en proceso.
El resto de los grupos participantes presentaron trabajos que ya parecen tener en repertorio:
Atma Yogadance entretuvo a los presentes mientras se acomodaban en sus asientos y abrió la función que reseñamos con la obra de grupo Back to the Garden (2016), basada en una escultura de Timmerman Dougherty. Alan Alberto (artista invitado del Festival Ballet Providence) y Andrea Dawn Shelley, representando a iMEE, se entregaron al trazo histriónico en el intenso Frozen Angels (2010).
A continuación, los bailarines del Arts Ballet Theatre of Florida de Vladimir Issaev invadieron la escena y cerraron la primera parte del programa de manera trepidante con Danzón (2011) de Yanis Pikieris, una obra de grupo que arrebató al público y donde se destacaron las parejas integradas por Lusián Hernández y Haowei Zhu, Janis Liu y Johnny Almeida y Hinano Eto y Kazuya Arima.
NWSA Dance Ensemble (bajo la dirección de Mary Lisa Burns y con Joel Mays de Dance NOW! Miami como artista invitado) sobresalió al abrir de manera impecable la segunda parte con Promenade (2006) de Robert Battle, y casi al final de la noche, Momentum Dance Company de Delma Iles, la compañía de más larga trayectoria entre las presentes, presentó “Dido” (2016), un sofisticado material especial a la medida de la presencia alucinante de Barbie Freeman.
Por último, el cierre espléndido a cargo de Dance NOW! Miami con su elocuente alegato político Bridges Not Walls (centralizado por un Luke Stockton calibrando el subtexto de cada movimiento) dejó bien claro que la danza en Miami no es solo una manifestación artística de alto nivel profesional sino también una expresión comprometida con su momento histórico.