The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

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..

Friendships can bring seemingly unlike people together to sometime form a strong bond. Such is the case in Walter Dean Myers’ coming of age novel, Darius & Twig. According to the summary notes of the book “Two best friends, a writer and a runner, deal with bullies, family issues, social pressures, and their quest for success coming out of Harlem.” It’s a tale of endurance, perseverance, an..

Kristoffer Diaz’s searing, hilarious and all-too-resonant play “The Elaborate Entrance of Chad Deity” isn’t new to South Florida. The 2009 script, a finalist for the Pulitzer Prize for Drama, made its area debut in 2012 in a fierce and fine production at Boca Raton’s Caldwell Theatre Company just a few months before the long-running regional powerhouse folded. Now “Chad Deity” has ret..

“This is no camera, nothing cut. This is real," says Tranee Wallace, whose story is one of three live radio plays in Dan Froot and Company's "Pang!" at Miami Light Project's Light Box at the Goldman Warehouse. Hers is one of a triptych of oral histories adapted into plays of families facing adversity: A Los Angeles single mom who loses the home she and her nine children live in after..

When it comes to farces, Michael Frayn’s “Noises Off” is one of the great ones. The 1982 comedy has made it to Broadway three times, and American audiences all over the country have embraced it in countless regional productions. Actors’ Playhouse is having a go at “Noises Off” as the second show of its 30th anniversary season. The play fits like a period glove on the main stage at the..

The intricate alchemy of inspired theatrical art is on full display in Zoetic Stage’s darkly hilarious, gripping world premiere of Christopher Demos-Brown’s “Wrongful Death and Other Circus Acts.” Demos-Brown, a rising theatrical star whose play “American Son” will open on Broadway in November, has drawn on his experience as a lawyer working on wrongful death cases to create a savage exami..

My Barbarian wanted to take Miami on a boat ride. “We wanted to interact and be out in the public,” Alex Segade reveals over the phone from Los Angeles, where he just got out of rehearsal for My Barbarian’s first Miami show, coming up this Saturday at the Miami Light Project, as part of Miami-Dade College’s Museum of Art and Design’s “Living Together” performance series this season. ..

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..

With the closing of Tigertail Productions last year, Miami lost one of its preeminent artistic champions. Under the direction of founder Mary Luft, Tigertail brought an endless parade of boundary-..

Anytime would be a good time to devote a dance program to the works of Jerome Robbins, our most versatile and celebrated American-born choreographer. But, given that 2018 marks the centennial..

Due to winter storms in the Northeast impacting travel, with great regrets the Bill T. Jones/Arnie Zane Company announced the cancellation of the Saturday, Jan. 6 performance. At age..

It is fitting at this time of the year that our thoughts often turn to what connects us not what divides us. Whether we are driven by religious or secular motives, many of us are in the spiri..

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..

People often imagine new artwork is the product of the solitary artist genius slaving away in lonely studios. The South Florida Symphony’s 20th anniversary program foregrounds a different vis..

At an age when many are winding down their working lives, Ignacio Berroa eagerly anticipates a new stage in his career. It would be understandable if the 64-year-old drummer, recognized a..

We know it’s the holiday season when trees light up, menorah candles start to burn, ubiquitous Christmas carols pipe through drugstores, “The Nutcracker” plays on every stage – and in recent ..

Late last year, on Dec. 20, 2016, Romero Britto and Mark Bryn hosted the Great Artists Series Cocktail Reception at the Britto Fine Art Gallery to celebrate the legendary impresaria, Judy Dru..

Open Barre para un estreno mundial de Brian Brooks con MCB

Photo: Los bailarines de MCB (Shimon Ito al centro) durante Open Barre dedicado a estreno del coreógrafo Brian Brooks. Foto de Alexander Iziliaev.
Written by: Orlando Taquechel
Article Rating


Por dos noches consecutivas, el Miami City Ballet (MCB), que dirige Lourdes López desde 2012, abrió las puertas de sus instalaciones en Miami Beach para ofrecer un encuentro Open Barre con el coreógrafo Brian Brooks y el compositor Michael Gordon con motivo del estreno mundial de la obra One Line Drawn (en español, Una Línea Dibujada) en la que ambos colaboran y que se presentará el próximo viernes 9 de febrero en el Arsht Center de Miami.

Este es un trabajo que fue encargado por el Harris Theater de Chicago como parte de una Residencia de tres años otorgada a Brooks, un creador de danza contemporánea que desde 2002 dirige su propia compañía (Brian Brooks Moving Company), es reconocido como un talento innovador y ha sido muy elogiado por su dueto con Wendy Whelan titulado First Fall que aparece en el documental Restless Creature que vimos en el pasado Miami Film Festival

El Programa III de la temporada 2017-2018 del MCB incluye también Tema y Variaciones de George Balanchine y The Concert (o, The Perils of Everybody) de Jerome Robbins.

Al inicio de la noche que reseñamos, López aclaró que en realidad Brooks fue comisionado por el Harris Theater para trabajar con MCB y cuando este expresó su deseo de contar con una partitura original para la obra, MCB comisionó a Gordon para que lo acompañara en el proyecto. López y Brooks se conocieron en 2016 mientras MCB se estaba presentando en Chicago.

La desenvoltura de López como moderadora permite que sus invitados se sientan cómodos y como siempre consigue un Open Barre muy agradable donde en esta ocasión el locuaz Brooks se proyectó enseguida como un conversador innato.

Durante un poco más de una hora, Brooks compartió con los presentes su impresión del MCB (“una compañía extremadamente generosa cuyo arte va más allá de la capacitación y el talento”), su proceso de trabajo (“de mucha investigación, como en un laboratorio”), su sentimiento como coreógrafo postmoderno trabajando con bailarines de intensa formación académica (“lo encuentro estimulante”) y el punto de referencia que comparte con ellos (“el entrenamiento en ballet”).

Brooks habló también de lo que le llama la atención (“la trayectoria del esfuerzo del bailarín”), donde concentra su interés (“en la transición”), como se autodefine (“como un formalista”) y por qué nunca pide “actuar un sentimiento” (“yo creo que la narrativa y la emoción, la metáfora y la oportunidad para la conexión humana llegan de alguna manera si estamos realmente haciendo bien nuestra técnica”).

La conversación es interrumpida en varias ocasiones para presentar momentos de la obra– todavía un trabajo en proceso. Los 16 intérpretes del primer elenco muestran una dinámica escena de grupo, Brooks aclara que el fondo del escenario estará a oscuras en la función y les dice: “ustedes mejoran por hora… gracias… estoy muy entusiasmado”.

A continuación se presentaron breves sesiones de trabajo coreógrafo/bailarín. Shimon Ito ejecuta una coreografía con música, Brooks le pide que la repita sin música y sugiere algunas correcciones. Ito las integra de sin dificultad a su ejecución y deslumbra a todos. Algo similar ocurre durante un segundo solo con Chase Swatosh.

El tercer solo, a cargo de Nathalia Arja, ilustra como Brooks ha incorporado en esta ocasión las zapatillas de punta a su propuesta coreográfica. Un dueto que ejecutan Alexander Peters y Shimon Ito es un ejemplo del trabajo de pareja de Brooks con bailarines del mismo sexo.

“En mi compañía, siempre tengo hombres y mujeres que se relacionan y se alzan mutuamente, que se preocupan unos por otros. Creo que es algo atlético donde todos están haciendo la misma tarea” afirma Brooks. “Entiendo que en una compañía de ballet esto probablemente sea algo nuevo para algunas de las personas bailando y para algunas de las personas que lo ven.”

Tras otro segmento con un doble trío, Michael Gordon se une por fin a la conversación y comenta “hoy hemos visto como cada bailarín comienza a moverse pero no hay conclusión en el sentido de que no hay un punto al final de la frase. De alguna forma esta sigue fluyendo. Yo he tratado de conseguir en la música ese mismo efecto de movimiento suspendido al final haciendo que cada frase termine de alguna manera en una respuesta.”

Como cierre, todos los bailarines ejecutan los minutos finales de la pieza y el público aplaude con entusiasmo. Ahora solo nos queda esperar por la noche de estreno.

El Programa Tres del Miami City Ballet, que incluye el estreno mundial de “One Line Drawn”, se presenta en The Arsht Center for the Performing Arts, 1300 Biscayne Blvd., del 9 al 11 de febrero, viernes y sábado a las 8 PM, el domingo a las 2 PM. Entradas disponibles entre $25 y $105 visitando o


Deja un comentario ...
Debe estar registrado
No one logged in. Log in
Deja un comentario ...
Was this helpful?
No Very

Captcha Image