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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..

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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..

Dance Now!’s Deep Rhythm


Photo: Photo Larry Chidsey
Written by: Diana Dunbar
Article Rating

What happens to old dances? Do they slowly disappear as choreographers and dancers move on to other projects? This may well be the case unless an effort is made to revive the piece-- reconstruct it and present it back to an audience. The question then arises as to which pieces are worthy of an encore; enter Ritmo Jondo(Deep Rhythm), a seminal work by Doris Humphrey, one of the foremost choreographers and dancers of modern dance.

Choreographed in 1953, and set in Spain, it examines the relationship between men and women during a time, and within a culture, with established mores for the sexes. Using the passion of flamenco, it’s an intriguing piece filled with shifting rhythms. Humphrey chose Carlos Suriñach evocative piece, Ritmo Jondo: Flamenco for Orchestra, for her piece. Scores of Suriñach, a Catalan composer, were also used by Martha Graham in Acrobats of God and for Embattled Gardens.

“The hardest part of reconstruction was the first movement for the men,” says Hannah Baumgarten, co-artistic director of Dance Now! Miami. “It was done without counts, and was very challenging.” Daniel Lewis, founding Dean of the Dance Department at Miami’s New World School of the Arts and a former dancer and artistic director of the Jose Limon Dance Company, workedwith the Dance Now! dancers to reconstruct the piece, which will be performed on Friday.

Lewis conducted a two week seminar, teaching the style of the Limon technique. Dance Now! is a company which performs works from a variety of choreographers. “Other voices serve as a counterpoint to our work,” explains Baumgarten.

Humphrey was one of the second generation of modern dancers, was a mentor to Limon and artistic director of his company. She choreographed Ritmo Jondo for the company towards the end of her career. Her pieces often examine relationships and social order -- Ritmo Jondo gives philosophical depth to the study of these relationships. Humphrey’s technique includes her concept of fall and recovery, which she called the “arc between two deaths.” Her book, The Art of Making Dances, is still used in many universities today. Ritmo Jondo was on the programin 1954 when the Limon Dance Companybecame one of the first companies chosen to tour South America with the sponsorship of the International Exchange Program under the tutelage of the United States Department of State.

House on Fire is Hannah Baumgarten’s contemporary jazz piece. It has the sense of a New Orleans club scene. With music by Tom Waits, Jimi Hendrix and Medeski, Martin and Wood, it’s a playful look at “club rats” in their search forcompanionship. Baumgarten describes it a sort of game – likened to musical chairs, as “each person seekstheir partner…depicting different relationships of friendship, passion and love.”

Dance Now! Miami co- artistic director Diego Salterini looks at dreams in Sogni. It’s an exploration of dreams -- a series of visions in a non-narrative manner. Salterini explains Sogni sometimes has the feel of being in a dark vacuum with sparks of “floating poetry.”

Dance Now! Miami recreates a masterpiece worthy of its rebirth, and presents and two contemporary pieces from choreographers who are part of the legacy of artists whose works should not be forgotten, but celebrated.

Dance Now! Miami performs Ritmo Jondo at 8:30 p.m., Friday at the Colony Theatre,1040 Lincoln Rd., Miami Beach; tickets $35 general; $15 student/seniors; www.dancenowmiami.org.

 


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