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“Carousel,” which contains some of the most gorgeous and memorable songs ever written for a musical, may be a musical you’ve never seen, though it has been around since 1945. The follow-up to “Oklahoma!,” Richard Rodgers and Oscar Hammerstein II’s hugely successful debut as a composer-lyricist team, “Carousel” requires a huge cast by today’s standards, an orchestra that can do that gl..

Before women like movie star Melissa McCarthy, Chrissy Metz of NBC’s “This Is Us” and Whitney Thore of TLC’s “My Big Fat Fabulous Life” became widely embraced personalities, Josefina Lopez wrote a play titled “Real Women Have Curves.” Lopez’s 1994 comedy, made into a 2002 movie that marked America Ferrera’s film debut, is about many things. Its subjects include the fears of undocument..

Stephen Adly Guirgis won the 2015 Pulitzer Prize for drama for his darkly comic “Between Riverside and Crazy.” Two years later, as GableStage’s sizzling new production so abundantly demonstrates, the play feels completely of the moment – in part because its characters traffic in “alternative facts.” Retired New York cop Walter “Pops” Washington (Leo Finnie) refuses to settle an eight-..

Neo-Impressionist Georges Seurat was an influential visionary whose pointillist work launched a movement before his untimely death in Paris in 1891 at the age of 31. He spent two years painting his masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte,” in which tiny dots of juxtaposed color viewed at the right distance transform into a host of Parisians relaxing on an island ..

Thirty-two playwrights, a half dozen directors, and around ninety plays in less than two hours. This is the South Florida One-Minute Play Festival, now in its fifth year, which runs this weekend. The festival, performed at the Deering Estate in Palmetto Bay and curated by Caitlin Wees and Dominic D’Andrea, has become a phenomenon in its own right. South Florida’s version of the festival i..

Mention the Harlem Renaissance, and those who know their history would be able to tell you a little or a lot about that vibrant period in New York’s black social and cultural life. But bring up the New York Renaissance – also known as the Renaissance Big Five or the Rens – and you’d be likely to stump anyone who isn’t steeped in basketball lore. Playwright and director Layon Gray ..

Listen up, humanity. God has a bone (or 10) to pick with us, and we’d best pay attention. I mean, if he can zap the wing off an argumentative archangel – and he can – just imagine what’s in store for us. Or simply consider the news, post-election. David Javerbaum, the Emmy Award-winning executive producer and head writer of Comedy Central’s much-missed “The Daily Show with Jon Ste..

I saw Lorca en un vestido verde, the Spanish-language version of Nilo Cruz’s play Lorca in a Green Dress eight years ago on a cramped stage in Little Havana’s Teatro Ocho, where Rolando Moreno took on the task of directing four actors who play eight roles. Even with the limitations of the production, Cruz’s inventive and lyrical script made Lorca one of my favorites from the Pulitzer Priz..

Kleber Mendonça Filho’s Aquarius (2016) is a masterful and engaging film exploring the dilemma of a singularly strong-willed, exceedingly attractive older woman who refuses to budge when power comes knocking at her door and tries to blow it off its hinges. A relative newbie to the director’s chair, Mendonça is a former film critic who layers a rich texture of skillfully developed metaphor..

The words that South Florida playwright Michael McKeever has chosen for his intense new play ‘After’ are powerful indeed. They would have to be, since his Zoetic Stage world premiere at Miami’s Arsht Center is a devastating piece about bullying, school violence and the moment when one horrific act destroys two families. But just as powerful as the words in “After” are the silences, as..

Francisco Hidalgo Takes Flamenco Back to a Nobler Time


Photo: Photo by Generacion Asere
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Flamenco performer Francisco Hidalgo, whose surname means “nobleman,” brought a bygone era of dignity and grace to life on the stage of the Miami-Dade County Auditorium in early November, in a collaboration with FUNDarte. Miami was the first stop on a multi-city U.S. tour of Los Silencios del Baile, Hildago’s full-length choreographic debut.

Hailing from a small pueblo blanco in the mountains of Cádiz, Spain, Hidalgo’s provenance is about as authentically traditional as one can get. And like a latter-day Don Quixote, this 31-year-old choreographer seems on a quest to restore flamenco to a more noble and chivalrous age, a time when male dancers with ramrod straight backs and quiet upper torsos were models of restrained power. This is not to say that he eschews all the trappings of modernity. Although much of his aesthetic is decidedly more retro, his spectacular technique is clearly a product of the 21st century. For his first solo, he wore a Chinese-style silk shirt, giving him the aspect of a Zen master and enhancing his broodingly mysterious onstage presence.

Hidalgo’s core is rock solid. This gives him an incredible axis and balance for turn, and he landed triple and quadruple pirouettes almost effortlessly. In his solo por soleares, he raised both arms slowly, circling his hands in gorgeous arcs, sometimes seeming to caress the very air with his fingers. While male dancers of the past would never have allowed themselves this liberty, seeing handwork as too feminine, today’s bailaores have incorporated it fully into their technique. His use of the hands lent Hidalgo’s dancing great expressive range. One could also appreciate the meticulous rehearsal that must have gone into perfecting every line and every moment; when he finished off a lightning speed footwork run with a kick to the back, looking like an Arabian thoroughbred, you felt his leg must always go up to that precise and perfect angle.

Hidalgo’s counterpart, dancer Rubén Puertas, also embraced an aspect of flamenco’s half-forgotten history when he donned a pair of castanets for his solo, a joyous and lively fandangos. Castanets, decades ago de riguer in flamenco performances, are often dismissed as “too classical” by today’s dancers. Puertas’ gorgeous and hugely entertaining solo showed that, played by a master, this most quintessentially Spanish of instruments has an important role in the flamenco repertory.

Like Hidalgo’s, Puertas’ technique is superb. He alternated between a lighter, joking side, sticking his behind out in an exaggerated arch at one point, and pure business, awing the audience with triple vuelta quebrada at another. Later, with a high jump in the air, both knees flexed and feet pointed under him, he landed in a deep lunge, torero-style, first to the left, then, springing up from the floor to lunge to the right. Caution: do not try this at home.

Bailaora Lucía de Miguel wowed the full house with her shawl work, but the choreography for her alegrías, while capably and stylishly danced, was less interesting than that of her male counterparts. The guitarist and singers were first rate, although a tuning problem during José Almarcha’s first guitar solo, “Amalgama,” was an unwelcome distraction and a glitch in the sound system gave singer Trini de la Isla’s a raspier sound than he comes by naturally. The younger Roberto Lorente’s voice provided a pleasing contrast to El Trini’s. Both have incredible rhythm and spot-on instincts when it comes to singing for dance.

With no theme or plot, Silencios del Baile was held together by its unity of tone –elegant, somewhat somber—and by Hidalgo’s talent for creating visually interesting onstage groupings and seamless entrances and exits that, without fanfare, took on a subtle drama of their own. And although the work’s title means “The Silences of the Dance,” Sunday afternoon’s audience was anything but silent, erupting in a long-standing ovation at the end of this beautiful and impeccably crafted program.

 


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