Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..
Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..
"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..
Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..
Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..
Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..
Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..
“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..
“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..
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 ..
Blessed by good parentage and nurturing support, a hale and hearty ballet company has just been born in South Florida. Under the direction of Jennifer Carlynn Kronenberg and Carlos Miguel Guerra, much-admired former Miami City Ballet principals, aided by a dedicated production team, Dimensions Dance Theatre came into our midst at Miami-Dade County Auditorium in late November with the program “Between Havana and Heaven.”
Ahead lies the hard work of bringing up baby: expanding the repertory to establish a clearer artistic identity, polishing up performances to better serve the dances, and—perhaps most daunting—building a solid financial base. Still, this first show held promise and established a worthy mission to include women choreographers and, whenever possible, live music.
Welcome, then, Under the Olive Tree, a multi-segmented work by Tara Lee, an Atlanta Ballet member who choreographed this (to Vivaldi and Max Richter) for New Orleans Ballet Theatre last summer. Drawing from Greek mythology, the ballet traces a passage from static divinity to vigorous human striving as gods forsake their majesty, stamped on the olive tree, to enter the world’s fray. But it was just as well to withdraw from that reading and merely enjoy the excitement of emotion-laden encounters in solo, duet, and ensemble work.
True, after a looming formation of entwined dancers split up, the curve of their arms and raised hands with twig-stiff fingers illustrated the transformation of arboreal rigidity into pulsing flesh. Yet the ensuing push and pull of movement, sweeping across the stage, served the senses more than the concept. Dancers brushed by each other, joined up, and opened their bodies to the light; the eight women were slinkier than the three men, who—bare-chested and blocky-muscled—stayed closer to their woody origins, each one quite a looker nonetheless.
Who wouldn’t want to see Katia Carranza dance here again? Elegant of line and declarative in technique, the former MCB principal can bring an engaging directness to her moves—evidenced even in the hoary medium of The Talisman Pas de Deux, extracted from the 19th-century Russian repertoire, which she laudably polished. Her partner, Maikel Hernández, though somewhat odd in carriage, still showed off his obligatory turns and leaps with enough force.
Desire was in the air to see Kronenberg and Guerra do what they do best: exult in a pas de deux.And they fulfilled expectations for that feast of thrust and trust, though in the relatively unassuming mode of Yanis Pikieris’ Ante El Escorial.To a solemn piano composition by Ernesto Lecuona (played by Marcel Guerra on stage), this didn’t portray, as so many duets, a mere romantic dalliance, but—aloft on the resonance of the music—more of a vital alliance. Fitting for this married couple at the cusp of an artistic adventure.
Juanita y Alicia is Septime Webre’s memory-stitched valentine to his Cuban heritage, at once aching with intimacy and arching toward cultural lore; overall lively and not without wit. The musical selections, played with fervor on stage by Alain García and The Latin Power, are familiar island classics, most recently made popular for wider audiences by Buena Vista Social Club; a passage of pure percussion, however, unearthed deeper African roots to nourish the hot-blooded fusion of Masiel Alonso and Ignacio Galíndez.
Most interesting here was the use of popular rhythms and crooning vocals for high-gear classicism in the dancing, Cuban accents used as condiment. The scenes, arising from the choreographer’s family history, kept close to the commonplace: white-clad youngsters in childhood games, endearing flirtations on festive occasions. But when a shirtless carnival figure (Todd Fox) came on the scene, a bolder sensuality flared. Chloe Freytag (another MCB alumna) met this wholeheartedly in a duet with Fox in the bolero Dos Gardenias. Then the cast got down to party in El Cuarto de Tula, a joy the audience readily embraced.
Dimensions debuted during an especially busy dance week. Among the events, Miami City Ballet’s Open Barre, a company-studio series, showed excerpts from Balanchine’s Gershwinsuite, Who Cares?,with reminiscences and on-the-spot coaching from Patricia McBride, a thoughtful advocate of an exquisite legacy. At Miami Light Project, Pat Graney’s Girl Gods illuminated women’s social history, packing critique and tribute in arresting vignettes. And, most thrilling, Britain’s Michael Clark Company concluded its residency at YoungArts by presenting three works—silken or steely but always shimmering—at extreme close-up and duplicated in the long mirrors of the Jewel Box space; to great effect, the music ranged from David Bowie to Eric Satie, leading to Patti Smith’s raw-throated outpouring of The Land of a Thousand Dances. If Dimensions Dance Theatre keeps adding to the wealth of movement celebrated in that song, our corner of geography will be a happier place indeed.
Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..
The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..
The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..
Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..
Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..
The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..
It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..
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..
"Nosotros sentimos, y pensamos que Jennifer y Carlos sienten igual, que Miami finalmente ha llegado a posicionarse como una verdadera ciudad cultural donde continuamente se presentan compañías imp..
El grupo de danza contemporánea Brazzdance dirigido por su fundador, el coreógrafo Augusto Soledade, se presentó el sábado 31 de marzo en el Carnival Studio Theatre del Arsht Center de Miami...
La undécima edición del Flamenco Festival que se desarrolló del jueves 8 al domingo 11 de marzo en el Arsht Center resultó ser un hermoso reencuentro con el Ballet Nacional de España (BNE), u..
Arts Ballet Theatre of Florida (ABTF) y su escuela de ballet adjunta, ambas bajo la dirección de Vladimir Issaev, se encuentran por estos días entregadas de lleno a la celebración del bicente..
El lugar privilegiado que ocupa Miami hoy en día en el mundo de la danza no tiene discusión. Además de contar con una vibrante oferta local de proyección internacional que dura todo el año y ..
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 ..