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Writing about “Broken Snow,” the Ben Andron thriller now getting its world premiere at the J’s Cultural Arts Theatre (JCAT) in North Miami Beach, is a proposition almost as tricky as the play itself. The intricately structured 90-minute drama is loaded with surprises, twists and turns, all revealed at precisely the right moment so that the play builds to its shattering conclusion..

As this steamy spring melts into a sweltering summer, Actors’ Playhouse is inviting theater lovers to a wedding – a big, fat Jewish-WASP wedding, otherwise known as the Broadway musical “It Shoulda Been You.” Though the show seemingly takes place in the present, the piece by book writer-lyricist Brian Hargrove and composer Barbara Anselmi is an old-fashioned, stereotype-filled throwba..

'Death & Harry Houdini' Makes Another Magical Moment at ArshtDennis Watkins knows how to make an entrance. In the House Theatre of Chicago’s “Death & Harry Houdini,” now back at the Arsht Center’s Carnival Studio Theater five years after it first wowed Miami audiences, Watkins arrives onstage with the help of theater technology unknown in Houdini’s day. Dangling upside dow..

Director Carlos Lechuga’s masterful unspooling of time in his second feature film “Santa y Ándres” constructs a uniquely Cuban mix of tedium and despair, resulting in an emotionally intense experience that sneaks up on the viewer in plain sight. The film opens with the stillness of a landscape painting: the eastern Cuban countryside of 1983 – rugged, lush, and verdant. The statuesque..

Memory – deep-seated, fragile, slippery, mutable – is at the heart of Jordan Harrison’s “Marjorie Prime.” A Pulitzer Prize finalist in 2015, the play is a family tragicomedy given a sci-fi makeover; in other words, this thought-provoking theater piece charts its own, fresh path. Now getting its South Florida premiere as the second professional production from the Main Street Players, ..

The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

The take-no-prisoners world of high finance and ruthless business deals has long been a tantalizing subject for artists. From filmmaker Oliver Stone’s 1987 “Wall Street,” with its antihero Gordon Gekko spouting “greed is good,” to Damien Lewis’ slick hedge fund mogul Bobby Axelrod in the Showtime series “Billions,” movies and television allow those of us in the 99 percent a glimpse at wha..

'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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