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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

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..

Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

Farewell to a Home Grown Miami City Ballet Sweetheart


Photo: By Alberto Oviedo
Written by: Cameron Basden
Article Rating

As the “home-grown” sweetheart of Miami City Ballet, Patricia Delgado is having her final performances this season before leaving the city and the company she loves to move to New York City.Having been raised in the dance community of Miami, taking the path from a young student apprentice at MCB who grew to be an audience favorite principal dancer with that same company, Delgado’s heart was heavy with emotion as she spoke about her departure. Leaving her home, the company she loves and being separated from her sister, Jeannette Delgado, another Miami City Ballet star, makes this a bittersweet transition.

What compels an artist at the top of a difficult career to make such a major transition?

Delgado muses thoughtfully. “It’s never just one thing. When I was young and spending summers in New York at the School of American Ballet, I remember hearing a New York City Ballet principal dancer who was retiring at the peak of her career say, ‘I want to remember dancing like this.’ At that time, I didn’t know what kind of a career I would have, but those words always stuck with me.”

Delgado has committed much of her time and her journey to the art form of dance, and is now looking for more balance in her life. That would include being with her boyfriend, choreographer and New York City Ballet principal, Justin Peck. After Peck choreographed “Chutes and Ladders,” his first pas de deux for MCB, the sparks between the two artists started to fly. Peck next created the hugely successful “Heatscape,” premiered in 2015 with the ravishing Delgado as one of the central figures. By then the two were a couple.

Peck and Delgado have been maintaining a romantic Miami - New York relationship for about four years now. The long distance relationship was exciting and allowed Delgado to maintain her dance, family and community roots, but time and distance can add challenges.

“I was headstrong about continuing this journey at MCB. I could never imagine leaving whether it’s now, five years or ten years. It is never an easy time to say, okay, I’m full.”

Over the past couple of years, Delgado has had her share of injuries. She was hardly on stage at all this season and it has been bumpy physically.

“There was something this past season that was pulling me to take a jump. Not needing to know what was next, not needing to have it all planned out. My fear was of getting to the point where my relationship would not be growing and neither would my career. I wanted to remember it in a beautiful way. I want my heart to be full!”

However, the word “retire” is not even in her vocabulary. Delgado may be leaving Miami, but it will not be the last we see of her. “I hope that my role with MCB kind of morphs. I’ve been doing some coaching and working with the school.” She is the perfect role model and mentor for the younger dancers.“I was inspired by those that came before me so I feel that responsibility for the next generation.” She knows that MCB will always be her home.

Transitioning to New York is a completely new ball game for Delgado. While she has performed there, Delgado still considers herself more of a fan or a tourist.

“I’m curious about a couple of things. I would love to teach and to stage some work. I’m curious to see what it’s going to be like ‘on the other side.’ At the same time, I’m curious about acting, maybe some dance on film, maybe some modern dance,” she says laughingly. “For so long I’ve known what I was a part of, and I really want to take this time to explore.”

Even though Delgado is a product of Miami City Ballet and the School of American Ballet, she feels that she is able to execute ballets of any style, making her a very versatile and adaptable dancer. It’s what audiences love about MCB. This diverse ability will make her a desirable commodity in the abundant dance community of New York.

“I love all the ballets I’ve been fortunate enough to perform, but the first ballet I ever danced with MCB as a professional was “ Who Cares.”I remember watching Jennifer Kronenberg do a pas de deux and falling in love with her and wishing I could do that role. So the fact that “Who Cares” is my last moment on stage makes it a very significant favorite. It shows that I was able to grow and still remain in the same place and how you can approach similar roles in such different ways at different times in your life.”

Patricia Delgado will have her final MCB performances April 1 and 2 at the Arsht Center and at the Broward Center for the Performing Arts April 8 and 9, with a special tribute farewell in Ft. Lauderdale on April 9 at 2:00pm.

Miami City Ballet performs Saturday, April 1, at 8:00 p.m. and Sunday, April 2, at 2:00 p.m. at the Arsht Center for the Performing Arts, Ziff Ballet Opera House, 1300 Biscayne Blvd.,, Miami/ Performances continue Saturday, April 8, at 8:00 p.m. and Sunday, April 9, at 2:00 p.m. at the Broward Center for the Performing Arts, Au-Rene Theater, 201 SW Fifth Ave/, Fort Lauderdale; miamici

 


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