Even before the election that transformed billionaire reality TV star Donald J. Trump into the 45th president of the United States, playwright Robert Schenkkan was so disturbed by the candidate’s anti-immigrant rhetoric that he decided to respond. Not with a Tweet. Not with an opinion-page essay. The Pulitzer Prize winner spoke back to candidate Trump with a full-length play. “Building..
“Baño de Luna,” written and directed by Pulitzer-prize-winning playwright Nilo Cruz and presented by Arca Images and the Miami-Dade County Auditorium, marks the debut of the Spanish-language version of “Bathing in Moonlight,” the original English production that debuted at the prestigious McCarter Theatre Center in Princeton, N.J., in 2016. Performed by a stellar cast in Spanish..
Rafael Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..
Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..
The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..
A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..
The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..
Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..
Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..
Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..
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.
You might expect something a tad unusual from a jazz band comprised of Bulgarians and Cubans that’s led by the principal percussionist of the Miami Symphony Orchestra. And that’s what you’ll ..
Not everybody who begins a musical career at age three singing in his grandfather’s Pentecostal Church finds his way to the Metropolitan Opera in New York. Soloman Howard did in two short decades...
Singer-songwriter Tiago Iorc may have been one of Brazil’s best-kept secrets, but the word is getting out. Fresh from appearances in New York, Boston and Orlando, Iorc makes his South Flo..
Gustavo Matamoros’ beard has gone gray, but his passionate promotion of listening as a way of engaging the world remains fresh.Whether bats in the Everglades, shrimp in Biscayne Bay or the no..
Just about now, even as the unsuspecting may be lounging at the beach, classical music is thundering forth in Miami. Our town’s annual eight week Miami Music Festival has begun with its offer..
Talk of weddings can quickly split a friendly gathering into camps of pro and con. Those on the pro side retell the moment when the crying six-year-old ring bearer, stunned by the attention o..
What better way to welcome summer than with a burst of live music? Leave it to the French to come up with the idea. Since 1982, they’ve marked the summer solstice with free concerts and p..
Mexican singer Natalia Lafourcade is as tiny as a house sparrow, with a voice as clean and pure as a bell. These delicate qualities belie a fierce inner strength and a steely artistic will. A..
Melissa Aldana is the first woman instrumentalist and the first South American artist to win jazz’s prestigious Thelonius Monk competition. Which distinction is more important to her? Neither..
El debut de Dimensions Dance Theatre of Miami (DDTM) en noviembre del año pasado fué un acontecimiento artístico y un descubrimiento sumamente agradable. Una sola función en el Miami-Dade Cou..
El festival “Out in the Tropics”, patrocinado por Fundarte en conjunto con el Centro Cultural Español y el Miami Book Fair International, normalmente trae artistas del mundo LGBTQ e hispanoha..
La Gala anual de Cuban Classical Ballet of Miami (CCBM) es un evento que esperan con ansiedad los aficionados al ballet en Miami y, sobre todo, los admiradores del estilo cubano. Desde su deb..
El 11 y 12 de mayo próximo tendrá lugar en el Miami -Dade County Auditorium el estreno en Estados Unidos de Scrutiny: The World Gone Astray(en español,Escrutinio: El mundo se ha ido a la deri..
Para el pianista y compositor cubano Omar Sosa la noción de una cultura global, sin fronteras, no es un concepto abstracto sino un tema personal. En su música, elementos de hip hop y rumba, ..
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Nadie como el bailarín y coreógrafo español Antonio Gades para describir el arte que lo hizo internacionalmente famoso cuando vivía: “Un extracto de fuego y de veneno, eso es el flamenco”. ..
Desde Las troyanas de Eurípides hasta “Guernica” de Picasso, o de la canción “Blowing in the Wind” de Bob Dylan al diseño de las gorras rosadas que llevaron miles de mujeres en las protestas ..
En un discurso de 1977, el escritor argentino Jorge Luis Borges desmintió la idea de que la ceguera fuera un mundo de oscuridad cuando describió su propia “modesta ceguera”. Hablaba de ciert..