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“Carousel,” which contains some of the most gorgeous and memorable songs ever written for a musical, may be a musical you’ve never seen, though it has been around since 1945. The follow-up to “Oklahoma!,” Richard Rodgers and Oscar Hammerstein II’s hugely successful debut as a composer-lyricist team, “Carousel” requires a huge cast by today’s standards, an orchestra that can do that gl..

Before women like movie star Melissa McCarthy, Chrissy Metz of NBC’s “This Is Us” and Whitney Thore of TLC’s “My Big Fat Fabulous Life” became widely embraced personalities, Josefina Lopez wrote a play titled “Real Women Have Curves.” Lopez’s 1994 comedy, made into a 2002 movie that marked America Ferrera’s film debut, is about many things. Its subjects include the fears of undocument..

Stephen Adly Guirgis won the 2015 Pulitzer Prize for drama for his darkly comic “Between Riverside and Crazy.” Two years later, as GableStage’s sizzling new production so abundantly demonstrates, the play feels completely of the moment – in part because its characters traffic in “alternative facts.” Retired New York cop Walter “Pops” Washington (Leo Finnie) refuses to settle an eight-..

Neo-Impressionist Georges Seurat was an influential visionary whose pointillist work launched a movement before his untimely death in Paris in 1891 at the age of 31. He spent two years painting his masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte,” in which tiny dots of juxtaposed color viewed at the right distance transform into a host of Parisians relaxing on an island ..

Thirty-two playwrights, a half dozen directors, and around ninety plays in less than two hours. This is the South Florida One-Minute Play Festival, now in its fifth year, which runs this weekend. The festival, performed at the Deering Estate in Palmetto Bay and curated by Caitlin Wees and Dominic D’Andrea, has become a phenomenon in its own right. South Florida’s version of the festival i..

Mention the Harlem Renaissance, and those who know their history would be able to tell you a little or a lot about that vibrant period in New York’s black social and cultural life. But bring up the New York Renaissance – also known as the Renaissance Big Five or the Rens – and you’d be likely to stump anyone who isn’t steeped in basketball lore. Playwright and director Layon Gray ..

Listen up, humanity. God has a bone (or 10) to pick with us, and we’d best pay attention. I mean, if he can zap the wing off an argumentative archangel – and he can – just imagine what’s in store for us. Or simply consider the news, post-election. David Javerbaum, the Emmy Award-winning executive producer and head writer of Comedy Central’s much-missed “The Daily Show with Jon Ste..

I saw Lorca en un vestido verde, the Spanish-language version of Nilo Cruz’s play Lorca in a Green Dress eight years ago on a cramped stage in Little Havana’s Teatro Ocho, where Rolando Moreno took on the task of directing four actors who play eight roles. Even with the limitations of the production, Cruz’s inventive and lyrical script made Lorca one of my favorites from the Pulitzer Priz..

Kleber Mendonça Filho’s Aquarius (2016) is a masterful and engaging film exploring the dilemma of a singularly strong-willed, exceedingly attractive older woman who refuses to budge when power comes knocking at her door and tries to blow it off its hinges. A relative newbie to the director’s chair, Mendonça is a former film critic who layers a rich texture of skillfully developed metaphor..

The words that South Florida playwright Michael McKeever has chosen for his intense new play ‘After’ are powerful indeed. They would have to be, since his Zoetic Stage world premiere at Miami’s Arsht Center is a devastating piece about bullying, school violence and the moment when one horrific act destroys two families. But just as powerful as the words in “After” are the silences, as..

'Calcium,' 'Glass Pieces' Lift the Weight of Dance History


Photo: ‘Glass Pieces,’ choreography by Jerome Robbins. Photo by Gene Schiavone.
Written by: Guillermo Perez
Article Rating

The future came a long time ago. That impression arose in two forward-pointing yet decades-old company premieres on Miami City Ballet’s second program of the season. In the opening performance at the Adrienne Arsht Center for the Performing Arts, Peter Martins’ "Calcium Light Night" from 1977 and Jerome Robbins’ "Glass Pieces" from 1983 carried the weight of dance history while keeping current value.

Barbed and tightly coiled, "Calcium" seems to move at the speed of impulse yet reveals an exquisitely timed mechanism.This duet introduced Martins, now New York City Ballet’s artistic director, as a promising choreographer.Yet—rocketing over neoclassicism—it remains an anomaly in his repertoire.The unorthodox rhythms and tonalities in the Charles Ives score, boisterous or eerie by turns, inspired in Martins an arch creativity.

"Calcium" unfolded in a center-stage square of unforgiving illumination.The unitards—blue for the man, red for the woman—against the black depth of the stage suggested color field paintings that sprouted arms and legs.In solos first and finally matched up, Kleber Rebello and then Nathalia Arja showed plenty of spunk and spring.He applied his knack for playing divine jesters, and she—whether echoing his moves or going on pointe on her own unabashed mission— was kittenish, teasing us with glimpses of a prowling tigress. These dancers turned focused progressions into a high-wire act.

In its incremental moves and sweeping repetitions, "Glass Pieces" provided a visually engaging response—influenced by postmodern dance—to the reiterative measures of three Philip Glass compositions. But, coming from the dawn of our electronic era, it also seemed to anticipate today’s world of ubiquitous screens.

“Rubric,” the first segment, featured a grid-pattern backdrop that loomed over lines of crisscrossing dancers, in contrast to three couples (Renan Cerdeiro and Tricia Albertson; Jovani Furlan and Callie Manning; Chase Swatosh and Jordan-Elizabeth Long) moving in spirited classical moves. “Façades” framed a stream of bobbing figures silhouetted by a blue-grey, LCD-like light; while in front of them Simone Messmer and Rainer Krenstetter projected solemnity like celebrants in a temple.“Akhnaten,” a pounding march, brightened the stage with advancing sextets of men before the full ensemble flooded in, earlier cool calculations giving way to a primeval force.

Those mind-driven displays contrasted with the vintage-Broadway lyricism of Kenneth MacMillan’s "Carousel Pas de Deux," another company premiere. The lusty pair in this encounter—using an orchestrated medley from the Richard Rodgers musical—found only fleeting satisfaction amid erotic turmoil. Though girlish, Jennifer Lauren kicked out and raised her fists in frustration before melting into the promise of passion. Embracing her, often in effusive lifts, Cerdeiro trafficked in a roguish magnetism prior to running off.

The true heart of this program lay in Balanchine’s "Serenade," where the mathematics of formations still astonish. Albertson, a refined ballerina, favored subtle interpretation, floating on the Tchaikovsky score in her journey from initiate to icon, partnered adroitly by Reyneris Reyes.Emily Bromberg was at her beguiling best as a mysteriousguide for Didier Bramaz.And Jeanette Delgado carried the light of all-out classicism.Throughout, Gary Sheldon’s baton kept the orchestra on pace in a very demanding range of music.

Feb.4-5 at the Broward Center for the Performing Arts; www.miamicityballet.org.

 


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