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Articles, reviews, previews and features on dance and music performances and events.
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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..

La Shica llega al festival “Out in the Tropics”

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El festival “Out in the Tropics”, patrocinado por Fundarte en conjunto con el Centro Cultural Español y el Miami Book Fair International, normalmente trae artistas del mundo LGBTQ e hispanohablante. Según su fundador, Éver Chávez, hoy día están expandiendo la gama de sus actuaciones para incluir artistas no homosexuales a quienes les inquietan temas como el feminismo o los roles de género. “Queremos borrar esa línea que hay entre el mundo LGBTQ y el mundo straight en las artes”, afirma el productor de la serie.

Incluir a La Shica, una cantante española de primera categoría, forma parte de esta filosofía. Aunque no sea lesbiana, durante toda su carrera, “Ha estado muy pendiente en su obra sobre cuestiones de la mujer”, asegura Chávez.

Algunos dirían que La Shica, con sus minifaldas, sus trajes estilo dominatriz y su imagen hipersexualizada, no sea la adecuada para esta tarea. Chávez piensa lo contrario: “Lleva el tema de la sexualidad en toda su obra”, dice, tomando de esta manera control de un tema que desde hace siglos ha sido tabú para la mujer. “Trata la feminidad en un modo extremo”, añade.

Oriunda de Ceuta, ciudad española en el norte de África, la gracia andaluza le viene no solo por naturaleza sino también por entrenamiento. A los quince años se marchó de casa para Madrid, a seguir adentrándose en los misterios del baile flamenco en los estudios legendarios de “Amor de Dios”. Fácilmente hubiera seguido en ese camino, porque ya había logrado sus éxitos como bailaora; actuó en algunos de los mejores tablaos de la capital y con compañías tan renombradas como las de Merche Esmeralda o Sara Lezana.

Pero pronto descubrió que no iba a poder expresarse con plenitud en el campo de la danza y empezó a cantar en lugarcitos “alternativos” madrileños como el “Contra Club”. Uno de los secretos de su éxito ha sido que desde el inicio de su carrera como cantante ha procurado rodearse de músicos de mucha categoría. Su primer guitarrista fue Fernando de la Rúa. Su primer percusionista, Pablo Martín Jones, quien ahora compone y toca con nadie menos que Rocío Molina, es el que le otorgó su apodo. Parece que “La Shica” (nombrete que no hace referencia a su género sino a su baja estatura) pegaba mucho más para una cantante medio funky, medio punky, que Elsa Rovayo, su nombre de pila.

Aún así, dice que no entiende la vida sin la danza; esta afirmación queda clarísima al verla actuar. Domina todo el escenario, se para a bailar encima de una caja de plástico para la cerveza, da vueltas secas para puntualizar una u otra frase, saca un abanico rojo y coquetea con ella.

Coquetea también con sus palabras; tiene un graciosísimo acentazo andaluz y una picardía a la vez de su pueblo y totalmente suya. Si los andaluces han convertido las palabras saladas de doble sentido en una arte mayor, La Shica será su Picasso.

 

De su época “punk” parece que lo único que le han quedado a esta artista de 41 años han sido sus pelos erizados de color platino y un fuertísimo sentido de libre albedrío. Hoy más bien canta canciones de Sudamérica--en dónde ha vivido mucho en los últimos dos años--cuplés y temas populares del gran cancionero español. Toda esta música la hace suya y moderna con una fuerte dosis de jazz y los vestigios de la flamenca que de alguna manera sigue siendo. En una actuación estilo cabaret de hace unos años lo dijo así: “El espectáculo es mío, aquí mando yo y os vais a comer lo que a mí me da la gana”. Lo seguro es que la anfitriona no dejará a sus invitados ni hambrientos ni defraudados. Estará acompañada por Josete Ordóñez en la guitarra y Didi Gutman en los teclados.

Las puertas del Gleason Room detrás del Fillmore Theater de Miami Beach abrirán el jueves a las 8:00 pm, y la actuación empezará a las 8:30 pm. El público se sentará en mesitas y podrá disfrutar de unos traguitos para animar aún más lo que promete ser una noche encantadora.

El festival continuará todo el fin de semana. El viernes presentarán a Joey Arias, un artista de drag que lleva años viviendo y actuando en Manhattan, aparte de sus giras a los grandes cabarets alrededor del mundo y su participación en películas como “Top Pee Wee”, “Wigstock—The Movie” y “To Wong Foo, Thanks for Everything, Judy Newmar”. Canta—no dobla—temas de grandes divas como Billie Holiday. El sábado traerá la actuación del dúo cubano de hip-hop bilingüe, Krudas Cubensi. Estas activistas lesbianas radicadas en Austin, Texas, “están muy pendientes de los derechos de la mujer, de las lesbianas, de la gente transgénero”, dice Chávez. Finalmente, el festival tendrá su cierre el domingo a las 2:00 de la tarde, cuando presentan en el Miami Beach Botanical Garden al poeta miamense Antonio Orlando Rodríguez y su “Striptease Literario”, en donde en vez de quitarse la ropa, se quitará las máscaras tanto de sus publicaciones como de algunos de sus trabajos inéditos.

Entradas: $30 Entrada General

$25 residentes de Miami Beach, estudiantes menores de 18 años y personas con más de 65 años

$18 para miembros del Centro Cultural Español

$65 Pase para el festival entero

Dónde: The Gleason Room Backstage at The Fillmore Miami Beach.
Dirección: 1700 Washington Ave, Miami Beach, FL 33139.
Teléfono: (305) 673-7300

Más información: fundarte.us


 



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