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Rafael Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..
Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..
The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..
A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..
The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..
Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..
Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..
Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..
Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..
Miami choreographer Augusto Soledade has been a fixture in the local dance world since he arrived here in 2004. His cast has shifted over the years and he continues to challenge himself artistically. Yet he has always maintained a company of talented dancers who keep his past works alive. His company, Augusto Soledade Brazzdance, has performed all over Miami and South Florida. This month the company returns to the Arsht Center for the Performing Arts on Friday and Saturday.
The 2017 program is a repertory show—a reflection on the library of works the company has preserved and continues to perform. Also included are three new works, plus the well-loved Diaries of an Outlaw.
We spoke with Soledade recently about the importance of bringing the company’s past work into the present.
What is motivating you to do a repertory show?
It’s really clear to me now why I continue to pursue having a company. It’s because repertory is important to me. There’s something about seeing work in the present that was created a few years ago or a long time ago that makes it a very special experience. Just because of the nature of dance; it’s so fleeting and so ephemeral that it just disappears right before your eyes. So all of these years that I’ve been working with the company, I’ve realized, I love repertory. I’ve had the opportunity to do all the repertory with different casts.
Is it a challenge to maintain your past works over time?
Many times the dancers are different so they all bring their own individuality to the work. And I have to acknowledge that. But I work very hard trying to make sure that I’m not re-choreographing the piece as I restage it.
Which pieces will be included in the upcoming show?
I’m going to premiere a new piece called Think Blue. I started workshopping it last season. Last year I started to feel that I wanted to dedicate more time and attention to programming that is flexible, that we can perform for adults and also for children. So I created this piece that is based on a children’s book called “Why the Sky is Far Away, a Tale from Nigeria.”
Also last year I had a chance to create a solo for Manuela Sanchez, one of our senior dancers. She was going through a bit of a hard time dealing with a breakup. I felt like, “I gotta create something with this, with all these things that you are feeling, so let’s get to work.” I created a piece that we titled Turn the Page of this Book. It was really a collaboration, I worked with her to put this together. And it’s the process of dealing with heartbreak or breakup.
Then I have one other new piece that is also premiering in Miami but was created in 2010. It’s called Some Things Revealed. It was a piece that was commissioned by the Moving Current Dance Collective based in Tampa. I liked the piece, so I asked them for permission to restage the work. They were very nice and said absolutely.
You’re also showing Diaries of an Outlaw. That’s a popular work.
I decided to include Diaries of an Outlaw because I know it is a piece that people really enjoy watching. I’ve performed it quite a few times. It was created in 2004 and everywhere that we’ve performed it, we’ve gotten a very positive response.
In looking back at your past work, what are you noticing?
It’s almost like I go back to the place and time where the piece was created, and the first cast. The other aspect is to see it being done by so many different dancers over the years. I find that so amazing. To me it’s a true sense of life for a dance work.
I went to see Alvin Ailey when they were here several weeks ago, and of course they do Revelations. That was a reaffirmation of the power of repertory. It’s everyone’s favorite. It doesn’t matter that it was created I don’t know how many years ago. I believe the fact that the piece is still being performed makes people connect to it in a very special way.
These are the things that I feel when I see my own repertory. I find that connection. For instance, Diaries of an Outlaw was created in 2004. That is a long time ago. Life has changed for me, for so many people, but we can still do it. I feel it still feels very truthful to the original work, how it was performed. I really enjoy that.
Augusto Soledade’s Brazzdance, Friday, Saturday, 7:30 p.m., Carnival Studio Theater, Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami. Tickets $37, www.arshtcenter.org.
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