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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 ..

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..

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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