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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..

La Gala única del festival que transforma a Miami en capital mundial del ballet

Photo: Cecilia Kerche
Written by: Orlando Taquechel
Article Rating

Solo hay que aplicar el concepto “seis grados de separación” a uno de los artistas que se han presentado en las Galas de Estrellas del Festival Internacional de Ballet de Miami (IBFM por sus siglas en inglés) para descubrir que Pedro Pablo Peña, su incansable director fundador, es lo más cercano a Kevin Bacon que tiene Miami como ícono de interconectividad.

Peña ha invitado tantas celebridades de ballet al festival que tal y como existe desde hace mas de dos décadas un juego llamado “Six Degrees of Kevin Bacon” podemos hablar hoy en día de los “Seis Grados de Pedro Pablo Peña”, al asumir que ningún artista de ballet – bailarín o coreógrafo - está a más de seis relaciones de distancia de Peña, a través de las obras presentadas en el festival que tienen en común o de su propia participación en el evento.

Los resultados son asombrosos si jugamos utilizando el “Adagietto” de Oscar Araiz, el ballet contemporáneo más veces presentado en el festival, o el pas de deux “Don Quijote”, la selección más frecuentemente ubicada como colofón espectacular de sus Galas. Merece la pena intentarlo.

Los pas de deux de repertorio han sido siempre un componente importante en las Galas del IBFM pero los artistas invitados son el atractivo principal del evento que desde 1995 – ahora en su edición número 22 - transforma la Capital del Sol en capital mundial del ballet con funciones siempre atractivas que se complementan con actividades colaterales de todo tipo: presentación del póster oficial, exposiciones, películas, talleres y conversatorios con autores de libros sobre danza.

Antes de la llegada del Huracán Irma, el propio Peña nos comentó, “este año el proceso de preparación del Festival ha funcionado como un aceitado mecanismo de relojería, todas las partes se han ubicado sin dificultad en su lugar y hemos podido concretar una entrega de altísimo nivel, llena de sorpresas agradables y con tres Galas espléndidas.” Lamentablemente, los daños provocados por Irma redujeron las Galas a dos, una en Nueva York (donde el evento se presenta por primera vez) y otra en Miami.

En este contexto, el IBFM entregará una vez más el Premio Una Vida Por la Danza durante la Gran Gala Clásica de Estrellas de Miami, que este año será para la Primera Bailarina brasileña Cecilia Kerche.

Kerche tuvo una destacada actuación en la edición de 2008 y es ahora codirectora artística del Ballet do Theatro Municipal do Rio de Janeiro, una compañía que participa por octava vez en el festival con Melissa Oliveira y Cicero Gomes, encargados de cerrar cada una de las Galas de este año, precisamente con el pas de deux “Don Quijote”.

Dar a conocer artistas sobresalientes de otras latitudes como Kerche, es uno de los mayores aportes del IBFM a la cultura de Miami. El público miamense cuenta ahora entre sus favoritos a los mexicanos Jaime Vargas y Laura Morelos, las españolas Tamara Rojo y María Giménez, sus compatriotas Sergio Bernal y Joaquín De Luz, los brasileños Thiago Soarez y Vitor Luiz, la japonesa Shoko Nakamura, el croata Ronald Savkovic, los argentinos Silvina Perillo y Hernán Piquín, el italiano Giuseppe Picone, la francesa Anaïs Chalendard, la canadiense Sonia Rodríguez, la puertoriqueña Laura Valentín, la chilena Natalia Berrios, el colombiano José Manuel Ghiso y los norteamericanos Rasta Thomas, Ashley Bouder, Joseph Phillips y Joseph Gatti. Definitivamente, otros nombres se agregaran este año a la lista.

La Gala única en Miami del sábado 30 de septiembre en el Miami-Dade County Auditorium contará con artistas del Ballet Nacional de España, Ballet Nacional Dominicano, Compañía Nacional de Danza de México, Ljubljana National Opera Ballet de Eslovenia, Ballet Teatro AllaScala de Italia, Ballet Estable Teatro Colon (Argentina), Ballet de la Opera de Paris (Francia), Ballet do Theatro Municipal do Rio de Janeiro, Pennsylvania Ballet, New York City Ballet y el Boston Ballet.

Todos ellos llegarán al sur de la Florida el viernes 29 después de haber actuado la noche anterior en la Gala IBFM de Nueva York. Aquí se les sumarán Casey Herd del Dutch National Ballet, Dimensions Dance Theatre Miami (DDTM) y Arts Ballet Theatre of Florida (ABTF). DDTM mostrará “Esferas” de Ariel Rose y ABTF presentará un breve dueto titulado “Vértigo” creado para la gran bailarina venezolana Mary Carmen Catoya que actuará por primera vez en el festival.

Con la trayectoria del evento y los grupos e intérpretes anunciados para este año, no hay duda alguna que la Gran Gala Clásica de Estrellas del XXII IBFM ofrecerá nuevamente momentos irrepetibles e inolvidables.

La Gran Gala Clásica de Estrellas del IBFM se presenta el sábado 30 de septiembre a las 8:00 p.m.en el Miami-Dade County Auditorium (boletos entre $35 y $52). Boletos a la venta en y


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