The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

Writing about “Broken Snow,” the Ben Andron thriller now getting its world premiere at the J’s Cultural Arts Theatre (JCAT) in North Miami Beach, is a proposition almost as tricky as the play itself. The intricately structured 90-minute drama is loaded with surprises, twists and turns, all revealed at precisely the right moment so that the play builds to its shattering conclusion..

'Death & Harry Houdini' Makes Another Magical Moment at ArshtDennis Watkins knows how to make an entrance. In the House Theatre of Chicago’s “Death & Harry Houdini,” now back at the Arsht Center’s Carnival Studio Theater five years after it first wowed Miami audiences, Watkins arrives onstage with the help of theater technology unknown in Houdini’s day. Dangling upside dow..

Director Carlos Lechuga’s masterful unspooling of time in his second feature film “Santa y Ándres” constructs a uniquely Cuban mix of tedium and despair, resulting in an emotionally intense experience that sneaks up on the viewer in plain sight. The film opens with the stillness of a landscape painting: the eastern Cuban countryside of 1983 – rugged, lush, and verdant. The statuesque..

Memory – deep-seated, fragile, slippery, mutable – is at the heart of Jordan Harrison’s “Marjorie Prime.” A Pulitzer Prize finalist in 2015, the play is a family tragicomedy given a sci-fi makeover; in other words, this thought-provoking theater piece charts its own, fresh path. Now getting its South Florida premiere as the second professional production from the Main Street Players, ..

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 ..

Miami City Ballet Premieres With Classic Romantic ‘Giselle’


Photo: Ella Titus, Miami City Ballet dancers in Giselle. Photo © Alberto Oviedo.
Written by: Guillermo Perez
Article Rating

 

Carlotta Grisi, the legendary ballerina who originated the role of Giselle in 19th-century Paris, must be smiling down on Lauren Fadeley from dance heaven.Portraying the eponymous heroine of Giselle, the most celebrated French ballet, can well be considered the zenith of any career. And not only did Fadeley get to perform this in 2012, on her first time out as a principal at Pennsylvania Ballet, but now she’s ready to re-conquer the part as a newly-hired soloist at Miami City Ballet.

“This is such an iconic role,” the ballerina says, “it’s both exciting and a little nerve wracking to prove myself in it all over again.”

All its demands included, this providential casting has come as an unexpected blessing for Fadeley. Unlike so many aspiring ballerinas, she had not set her eyes on the special prize early on.“I didn’t grow up with this ballet,” admits Fadeley. “It just wasn’t in my reach.”

Lacking exposure to productions of Giselle in Orlando, her hometown, she went on to train at the School of American Ballet, a greenhouse for the Balanchine style. Work then followed as a corps member at New York City Ballet, where neoclassical abstractions predominate—not exactly a straight shoot for the lead in a historic narrative ballet. Still, there were signs Fadeley might be headed in this direction.

“Without knowing the story behind it, I fell in love with Giselle’s music when I heard it on tape as a girl,” says Fadeley, amused to think of the steps she came up with to Adolphe Adam’s score—sunny and tender, eerie and lush—on the porch of her childhood home.

Moreover, when Fadeley left her position at NYCB to get a degree at Indiana University—an unorthodox move for a ballerina already on a professional tract—she had the good fortune to come in contact with Violette Verdy. This French-born luminary danced for years at NYCB before becoming the first woman to direct the Paris Opera Ballet. Verdy authored Giselle: A Role of a Lifetime, an intimate and all-embracing study whose pages Fadeley learned to treasure.

With a libretto partially inspired by a passage from Heinrich Heine referencing the Wilis, a band of spectral maidens who, decked out in wedding white, dance hapless men to death, Giselle calls upon the lead to deal out conduct from the earthy to the supernatural. She must adorn rusticity in the first-act village scenes, perfumed by her love for the duplicitous Albrecht, and then take wing in the second act’s haunted forest as a reluctant Wili, ethereal yet resolute in shielding her remorseful deceiver from doom.

“Verdy showed there are so many elements in this ballet. Every time you do it, you go on a different ride,” Fadeley says.

The choreography in Giselle, by Jules Perrot and Jean Coralli, contains many stirring passages, but few pack as much force as Giselle’s pre-death mad scene—comparable to Ophelia’s in Hamlet—after she finds out Albrecht is betrothed to a noblewoman. “Of course, there are choreographic guidelines for this,” Fadeley explains about Giselle’s circling, lunging, and swooning, “but dancers bring differences to it. You really have to be in the moment for it to look authentic.”

Each dancer rehearsing Giselle—a group that interestingly cuts across ranks, from principal to soloist, at MCB —will no doubt put her own stamp on the role. But all had a chance to profit from the insights offered by Evelyn Hart, once a superlative Giselle at the Royal Winnipeg Ballet, who coached the casts in intensive sessions.

“She’s amazing—what an artist!” enthuses principal Tricia Albertson, another lead in the lineup. While experienced in previous productions of Giselle at MCB (the company’s first was in 2002, staged by then ballet mistress Eve Lawson and principal Eric Quilleré), Albertson appreciates her new gains from Hart’s capacity to convey thoughts behind actions in the ballet, which enhance the dramatic context. “She brings in so many sides, it renews the narrative. This really helped me explore the character.”

Those preparatory sessions also enriched Jovani Furlan’s approach to Albrecht. The soloist has a shorter resumé than Fadeley and Albertson, but he certainly has no shortage of passion and industry. About his first-time match-up with Fadeley, he says, “We really clicked! She’s such an expressive dancer, it makes it easier to read her body. There’s an on-going dialog in our heads that lets the ballet speak.”

In his initiation as the male lead in MCB’s Giselle, Furlan found that Hart’s pointers allowed him to shape a more profound characterization.

“Albrecht grew up in a rigid life among royalty,” Furlan reflects, “and Giselle, pure and naïve, takes him on a different journey.” The dancer recognizes the nobleman in disguise may be played as irresponsible and self-indulgent, but he prefers a more sympathetic take. “He doesn’t really want to bring harm. And love can make you do such crazy things! Sure, there’s pain and guilt, but … since Giselle saves Albrecht, he’s been forgiven and can live to become a better man.”

Going through the crucible of a scary night in the woods not only transforms the character but—with all its technical requirements—also the dancer. As Furlan has seen, “Keeping up my stamina is a big part of this.” At the end, he admits, he hardly has to pretend he’s nearly danced to complete exhaustion.

Fadeley, too, comes away from the ballet feeling the impact of its final scenes. Their intensity can be draining, and she must find the calm that performance craft brings in an emotional whirlwind. “You really get into the zone,” says Fadeley—and sums up the ballet’s transcendent quality with a simple phrase: “It’s so beautiful.”

‘Giselle’ runs Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Arsht Center for Performing Arts, 1300 Biscayne Blvd., Miami; tickets $20-$99. It moves to Broward Center for the Performing Arts, Nov. 5-6; www.miamicityballter.org.

 



Leave a comment...
Must be Logged in
No one logged in. Log in
Leave a comment...
Was this helpful?
No Very

Captcha Image

About The writer

Project 305 has a simple aim – crowd-source a Miami symphony. For 100 days from January 31 to May 12 New World Symphony, in collaboration with the Knight Foundation and the M.I.T. Media Lab, ..

You hear the word “flamenco” -- what image comes to mind? A guitar? A dark-haired dancer? The color red, a ruffled dress? Did a piano by any chance enter the picture? Perhaps not. Pianist..

Critics on five continents have described her work as “indecent and breathtaking,” or some close variant. One blessed her for always “going too far.” Another stated he would prefer death to m..

Buzzing his lips and shaking his head, Rafael Davila gets ready to rehearse. In the Florida Grand Opera’s cavernous rehearsal hall in Doral, the floor is marked with tape to delineate the roo..

There’s a song James Blood Ulmer sings called “Jazz Is the Teacher, Funk is the Preacher.” If you bring in Mother Blues, along with the family hothead, Rock and Roll, you’ll have a better pi..

Ask about the Miami Sound to 10 people in South Florida and you’ll get 11 different answers. And yet, for more than 20 years, the Spam Allstars, a group founded and anchored by DJ Le Spam (a..

This year’s TransAtlantic Festival features local dance music stars, a Malian guitarist known as “the Hendrix of the Sahara,” and something unique: a Haitian rara band comprised entirely of women...

If the political movement that saw its birth after the November elections is in the market for a composer to set the score for its many marches, Frederic Rzewski might be a strong contender f..

In a combo that promises to be both sublime and rip-roaring, three generations of Cuban and Cuban diaspora musicians come together this Saturday at The Miami-Dade County Auditorium to celebra..

El 11 y 12 de mayo próximo tendrá lugar en el Miami -Dade County Auditorium el estreno en Estados Unidos de Scrutiny: The World Gone Astray(en español,Escrutinio: El mundo se ha ido a la deri..

Para el pianista y compositor cubano Omar Sosa la noción de una cultura global, sin fronteras, no es un concepto abstracto sino un tema personal. En su música, elementos de hip hop y rumba, ..

No hay que viajar a otro país para disfrutar en vivo de la música cubana del momento, la más innovadora, la que le da la vuelta al mundo. Basta con asistir a Global Cuba Fest, aquí mismo, en ..

Nadie como el bailarín y coreógrafo español Antonio Gades para describir el arte que lo hizo internacionalmente famoso cuando vivía: “Un extracto de fuego y de veneno, eso es el flamenco”. ..

Desde Las troyanas de Eurípides hasta “Guernica” de Picasso, o de la canción “Blowing in the Wind” de Bob Dylan al diseño de las gorras rosadas que llevaron miles de mujeres en las protestas ..

En un discurso de 1977, el escritor argentino Jorge Luis Borges desmintió la idea de que la ceguera fuera un mundo de oscuridad cuando describió su propia “modesta ceguera”. Hablaba de ciert..

En su discurso de recibimiento del Premio Nobel, el poeta chileno Pablo Neruda afirmó que el poeta no es un "pequeño dios." De hecho expresó que el mejor poeta “es el hombre que nos entrega e..

En la cultura yoruba, y sobre todo en sus manifestaciones caribeñas como la afrocubana, las historias contadas oralmente por generaciones ocupan un lugar esencial. Esas historias, muchas de e..

En la serie artística Out in the Tropics, la tarima no discrimina, la sensibilidad de los intérpretes es inclusiva y todo público es bienvenido. Producción de la entidad local sin fines d..