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We humans do love our rituals. When an extended family gathers for the holidays, familiar traditions promise a comforting respite from an increasingly complex, chaotic world. Still, realistically, troubles and fears refuse to be left behind. They surface like unwelcome guests. So do resentments and stinging remarks born of deep knowledge. With Thanksgiving on the horizon, you wonder: ..

After a tryout run in Chicago, 34 previews and 746 performances on Broadway, and a tour launch in Buffalo, “On Your Feet!” has finally opened in the place where Cuban-born music superstars Gloria and Emilio Estefan made their dreams come true: Miami. At Friday’s red carpet opening at the Adrienne Arsht Center for the Performing Arts, with the Estefans and their extended family in atte..

Whether the comedy is high or low, performer-writer Steve Martin has been making moviegoers, “Saturday Night Live” fans and theater lovers laugh for more than half a century – hard to believe it’s been that long, but he started early. Martin’s way with both cerebral jokes and physical comedy is abundantly on display in “The Underpants,” his 2002 adaptation of Carl Sternheim’s once-ban..

Robert Schenkkan’s “Building the Wall” begins as a wary conversation between two strangers: Rick, a white male convict awaiting a likely death sentence, and Gloria, a black female historian and college professor. For 90 minutes, the two talk. She probes; he explains and justifies and slowly paints a picture of a man-made Seventh Circle of Hell. By the time the play ends, the audience ..

Branden Jacobs-Jenkins’ award-winning play “An Octoroon” layers an antebellum melodrama with 21st-century parlance and perspective. The result is an innovative play-within-a-play that skillfully reminds us of slavery’s horrible past and its ever-present legacy. Area Stage Company’s production, thoughtfully directed by John Rodaz, brings together a talented cast to ensure this melodra..

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..

MCB and NWS Collaboration: ‘Inside the Music’


Photo: Leigh-Ann Esty
Written by: Octavio Roca
Article Rating

It was the first time this ever happened, and it was pretty wonderful. March 18 at the New World Center in South Beach, dancers of Miami City Ballet and musicians from the New World Symphony got together for Inside the Music: Movements, a surprising program boasting seven ballet world premieres -- including one ravishing short dance film -- plus music spanning four centuries, and some of the most exciting musical performances of the season. These two neighbors should get together again. Soon.

These were well-made dances, promising and occasionally more. The language of the seven young choreographers was conservative, thoroughly grounded in and seldom deviating from the Balanchinean mold, yet never less than entertaining. Most promising of all is this glimpse at a possible future in dance, at the sort of experiment that has paid off elsewhere.

William Forsythe, one of today’s leading choreographers, began just this way, making dances among friends within the young Noverre Society inside the Stuttgart Ballet with its orchestra players. Musicians also surely benefit from this. NWS Fellows already enjoy an enviably wide repertory, but collaborating with another kind of artist can only broaden their own artistry. Inside the Music was a win-win proposition.

Sara Esty’s Road Movies, set to the opening movement of John Adams’ s 1995 score, opened the show. A luminous Chase Swatosh stepped out first, joined in time by Renan Cerdeiro, Bradley Dunlap, Leigh-Ann Esty, Jennifer Lauren, and Nicole Stalker. Kelly Bunch’s violin and Michael Lenville’s piano breezed through Adams’ complex score, making it sound easy and at one point near the end making the dancers hit one last gorgeous stage picture just as the music stopped. Esty’s choreography throughout was sensitive to the music, and if she hasn’t yet found a language of her own, she has a beautiful way with the language she’s inherited.

Ariel Rose’s Dyad followed, set to Johann Sebastian Bach’s popular Concerto No. 5 for Harpsichord and Strings, exquisitely played by Nina Zhou at the piano backed by the NWS Fellows. Shimon Ito, Alex Manning, and Damian Zamorano, all shirtless wearing black pants, had a few sexy little shoulder shimmies, then joined Nathalia Arja in Rose’s fluid dance. The lively Arja has real chispa, and Ito was a strong, attractive partner. The first of three tiny, clever Interludes by Tricia Albertson and an irresistible Christie Sciturro followed, one or two-minute whimsical encounters of ballerina and oboist all over the house. The NWS oboist, Kevin Pearl, showed wit, a luscious mellow tone, and not bad-at-all legs (yes, they made him dance at the end as well).

Cerdeiro’s Preludes, set to George Gershwin’s  Three Preludes, was a little tame for this music. The musicians more than made up for it, though. Robert Smith’s jazzy piano, Audrey Wright’s easy violin, and especially Jeremy Morrow’s incredibly precise yet sensual trombone and Henrik Heide’s flute with its shades of Claude Bolling all got to the heart of Gershwin’s score. The 10 dancers were splendid.

A new short film followed called Danse sacrée, choreographed and directed by  Zoe Zien with videographer Bruce Pinchbeck, set to the first movement of Claude Debussy’s (1904) Danse sacrée et profane. Shot in a dream-like atmosphere at Fairchild Botanical Garden, with the score played live by the NWS Fellows, the dance began at a huge banyan tree and moved through the grass as the dancers seemed to float through a tribute to Nijinsky. Brianna Abruzzo, Cerdeiro, Ito, and Helen Ruiz were stellar, and the camera obviously loves Patricia Delgado. It is a lovely film.

A very academic duet by Eric Trope called Nine Chapters, set to Johannes Brahms’ moving Sonata No. 1 for cello and Piano, seemed not quite finished, and not up to the score’s emotional breadth. Still, Aaron Ludwig’s burnished cello sounded like a what every dramatic tenor aims for. Colorful in every way, from the tight choreography to the colorful tights, Leigh-Ann Esty’s The Cantina Band had everyone smiling and set the joint jumping to John Williams’ bar scene in Star Wars. No surprise, the NWS Fellows make one hot jazz band.

The most satisfying new dance came at the end, Acantilado by Adriana Pierce, set to Alberto Ginastera’s 1953 Variaciones Concertantes. Tricia Albertson, Emily Bromberg, Sarah McCahill, Leslie Overholt, and Chase Swatosh -- all with ideal follow-though in every phrase -- created delicious tension in this dance, which was not exactly plotless and suggested an outsider and the community that made him that. As that outsider, Jovani Forlan looked like a starlet, danced like a star, and stole the show with a touching fusion of innocence and desire. Here is a dancer to watch.

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About The writer

Dance and music critic, assistant professor of philosophy at Miami Dade College

Octavio Roca, an Assistant Professor of Philosophy at Miami Dade College, was music, dance and theater critic for The Washington Post, The Washington ..

About the Writer

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