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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. ..

The time seems right for Karen Finley to be visiting Miami, to be performing in the black box space of the Miami Light Project at the Goldman Warehouse, and to present her latest performance-art manifesto about the current political landscape, “Unicorn Gratitude Mystery.” In the show, which she began developing as a response to the U.S. presidential election in 2016, Finley plays a unicor..

'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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