Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..
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. ..
New life for a legacy ballet—a veritable choreographer-magnet—created a great buzz about Miami City Ballet’s third program this season. But at the Arsht Center for the Performing Arts, it was the accompanying pieces surrounding The Fairy’s Kiss that held the most honey.
As one of Balanchine’s ballerina feasts, Walpurgisnacht Ballet set the bar high for bounding choreography. While using music from Charles Gounod’s Faust, the work revealed, in its sunny science, a pact with Apollo and not the devil—though the closing part paid homage to Bacchus in an unbridled frolic.
Lustrous but demanding moves, pretty but unpretentious costumes, and simply a bright stage: all this gave rise to the pleasure of prized fundamentals. And, of course, there was that corps of 16 females in spun-sugar tulle—32 arms and 32 legs for rollicking locomotion and imposing architecture, further bolstered by demi-soloists. Nathalia Arja rejoiced upfront in whizz-by propulsion and balances with six-o’clock extensions. Her dancing was bracingly open and generous.
In an extended duet with Jovani Furlan, solo variations wittily interspersed, Lauren Fadeley proved to be a robust interpreter. No need for gilded phrasing, each shape spoke straightforwardly of strength and intelligence. Her partnership with Furlan—his princely stance a solid personal development—showed exciting promise.
Christopher Wheeldon’s Polyphonia made a big splash in its 2001 premiere and for good reason. The segmented work to piano pieces by György Ligeti—fomenting sometimes otherworldly, sometimes surprisingly sociable dancing—engaged the senses and excited the mind. The opening and closing four-couple ensembles, with mostly duets in between, explored rhythms and melodic moods embraced by Mark Stanley’s velvety lighting. And, with immediacy and deftness, MCB dancers endowed this with a binding commitment as Francisco Rennó cast a spell at the piano.
Prominently, Tricia Albertson, and Reyneris Reyes turned their union into an evolving organism, which—here a suspension, there an entwinement—drew us into an alternative biosphere. Also providing striking anatomical perspectives, other pairings were as meticulously measured but became more expansive, as was the case of Furlan and Ashley Knox and later Kleber Rebello and Jennifer Lauren. None looked more hauntingly poetic than Renato Penteado and Emily Bromberg, however, in shared exploration. In her eventual solo to pattering notes—with bourrées as smooth as streaming water—she went through linear progressions as if on a transformative journey.
Whoever lamented the end of football season after the Superbowl might have found interest in the opening section of Alexei Ratmansky’s The Fairy’s Kiss. Here a newly orphaned baby (mercifully a doll) got tossed around by a team of eerie creatures (think Snowflakes from The Nutcracker who drifted to the Dark Side) as if carrying out an unsanctioned game plan. Talk about tough love. This introduced a disconcerting tone: was it sinister humor or flashy horror? Either way, nice to have Simone Messmer quarterbacking as the fairy queen, gleefully reckless yet unflagging in her mission to mark the infant with enchantment.
A curious agent of fate, Messmer really had to take up three roles in one: the regal fairy—most exclamatory in haughty balletic feats—and also her avatars--a palm-reading gypsy, and an ersatz bride. Each demanded of the ballerina pronounced modes of characterization—earthy huckster, say, or airy seductress—which she grandly delivered. These apparitions intruded upon the boy’s life, with prophecy and subterfuge, diverting him from a mundane path toward his apotheosis as an artist. Sure as stamping a visa, the fairy kissed him to initiate travel to an extraordinary realm.
Renan Cerdeiro—his jumps effusive in love and his folkloric steps firm in clan allegiance—had enough charm and youthful agility to clamor for good fortune in the worldly arena—Jérôme Kaplan’s town center all sharp angles, Wendall K. Harrington’s projections puffs of snow and passing clouds.
Jeanette Delgado, the object of Cerdeiro’s desire, added rays of sunshine to her dancing in a village feast and nuptial preparations—all the more to contrast to with the dejection she wrapped herself in after her sweetheart turned away.
Rustic fun and wedding ritual, cheerful yokels and bewitching beings— many elements in this work provided a digest of famous story ballets. Down to some gestures and passages, Ratmansky honored that heritage—not so different from Stravinsky’s own resuscitation of Tchaikovsky through references in this score.
And it was in that tribute to creative instrument that The Fairy’s Kiss gained transcendence. The epilog became a rousingly beautiful portrait of the contemplative artist. First lying down toward the audience—as if enthralled by his future in our appreciative eyes—and then taking in the action from different points, Cerdeiro surrendered to his calling as a full cast of dancers joined him. The gauzy drape of their costumes revealed humanity in the flesh, but a sublime purpose guided their cumulative configurations. In the end they lifted Cerdeiro—his art, so to say, elevating him—to put him in full view. The fairy had claimed the boy, but now the artist through his creations belonged to us.
In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..
Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..
Having grown up in Buenos Aires with a strong interest in music, one would think that Jaime Bronsztein (http://jaimebronsztein.webs.com/) would have slid down the well-lubricated tracks towar..
A creepy old king ogles his beautiful stepdaughter. Powerless to stop him, her mother, the queen, protests drunkenly. The girl, age maybe 12 or so, falls for the only man who does not lust af..
At first their sound is reminiscent of Bob Marley. Just as plaintive but with added punch. But listen longer -- the more familiar the music feels, the harder it is to pin down. This is t..
People often imagine new artwork is the product of the solitary artist genius slaving away in lonely studios. The South Florida Symphony’s 20th anniversary program foregrounds a different vis..
At an age when many are winding down their working lives, Ignacio Berroa eagerly anticipates a new stage in his career. It would be understandable if the 64-year-old drummer, recognized a..
We know it’s the holiday season when trees light up, menorah candles start to burn, ubiquitous Christmas carols pipe through drugstores, “The Nutcracker” plays on every stage – and in recent ..
Late last year, on Dec. 20, 2016, Romero Britto and Mark Bryn hosted the Great Artists Series Cocktail Reception at the Britto Fine Art Gallery to celebrate the legendary impresaria, Judy Dru..
Después de una serie de actuaciones muy exitosas en varias ciudades del Este del país, Alvin Ailey American Dance Theater (AAADT) llega a Miami para ofrecer seis presentaciones del jueves 22 ..
La ofensiva espontánea protagonizada por BalletBoyz y Cie. Herve Koubi el fin de semana pasado en teatros de Fort Laudedarle y Miami, con dos propuestas artísticas absolutamente fuera de seri..
La atracción principal del tercer programa de la temporada 2017-2018 del Miami City Ballet (MCB) que se presentó el fin de semana pasado en el Arsht Center fue el estreno mundial de One Line ..
Llegados en vuelo directo desde Inglaterra, BalletBoyz (Premio Nacional de Danza 2013 a la Mejor Compañía Independiente) ofrecerá el sábado 10 de febrero una función patrocinada por Culture Shock ..
Por dos noches consecutivas, el Miami City Ballet (MCB), que dirige Lourdes López desde 2012, abrió las puertas de sus instalaciones en Miami Beach para ofrecer un encuentro Open Barre con e..
El segundo programa de la temporada 2017-2018 del Miami City Ballet (MCB) dedicado a los 100 años del nacimiento de Jerome Robbins (1918-1998), el gran coreógrafo norteamericano que triunfó ..
2017 fue un buen año para la danza en Miami. El Flamenco Festival nos permitió volver a ver a Jesús Carmona, el Internacional Ballet Festival of Miami (IBFM) sobrevivió al huracán Irma, Dance..
El Miami City Ballet (MCB) presentó por fin en el Arsht Center la nueva producción de su gran espectáculo navideño, el “Cascanueces” de Tchaikovsky y Balanchine, ahora con diseños origin..
La tradicional temporada de Cascanueces del Miami City Ballet (MCB) tendrá algo nuevo este año. La compañía que dirige Lourdes López ha decidido renovar los diseños de la superproducción que..